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AMC is running some week long screening of the first movie's 4k uhd remaster but in dolby vision and atmos theaters only. I realized I'd never actually seen it with proper sound/in a theater so I went. The stuff shot on film still looks great, plus it uses the more subtle color grading that isn't heavy as poo poo green over everything inside the matrix (I don't even think I've seen that version, I think the first wave of DVD releases had the theatrical color timing intact as far as I know) The CGI effects upscaled from whatever resolution they rendered them at (2k maybe? anyone know the vfx were finished in 2k?) looked like rear end obviously on a giant screen..the worst offender being the tracker bug sequence...even the bullet-time sequences looked pretty lovely considering every element but the actor was CGI...Don't get me wrong, for the time this movie (especially being at SD resolutions) had insane effects and was kind of the standout for a hot minute..I'd say more so then TPM which came out the same year and had ILM behind it. The other thing I noticed was the crazy amount of grain overall..something I never caught the dozen times I've seen this on various smaller screens/resolutions. I'd love to see something from the DPs perspective as to why that is..if they chose to shoot fast film stock or if they pushed slower stock in the lab...if it was an aesthetic choice, a budget choice (faster stock = a considerably less amount of light needed = faster lighting setups) or just something not even really factored in...Seeing it from a technical background rather then as a teenager I would have thought they'd have chosen to go with sharp glass/slow stock for all the scenes in the matrix, and then low light/fast stock/high grain almost gritty doc style/16mm for all the things in the real world as a nice subtle contrast considering they chose to blue tones in the real world and green/cool white inside the matrix (obviously not to the degree it became when some colorist got bored a decade later) I think it still holds up 20 years later. Very little desire to see a new one, I'd go begrudgingly the same way I went to the bladerunner sequel. I feel like I balanced out seeing reloaded opening night in theaters by finally catching the OG classic in the best way possible. Not sure when this weeklong thing ends, but a ton of theaters have randomly been screening that UHD scan this year for the 20th anniversary (gently caress I feel old)..I think it's worth catching if you can. e: also did they ever settle with that author who claimed they just lifted her entire book? annnd bonus: the matrix is just dark city debate, arise from your decades old grave  i love whoever made this vid https://www.youtube.com/watch?v=moW17YHl6B8 edit 2: turns out, no, that lawsuit did not go in that ladies favor..but she did make a geocities style website about it for uhhh our enjoyment? zer0spunk fucked around with this message at 16:28 on Sep 4, 2019 |
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Sep 4, 2019 16:06
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| # ¿ May 13, 2024 00:27 |
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I read a one paragraph summary of the entire trilogy recently and I liked it way more than the actual movies. If they had gotten some decent writers to actually work through it it might have actually resulted in a solid sci fi epic instead of 2 and 3 being the mess it was. Paraphrasing here- Robots are used by humans as a tool. At some point a robot kills a human and things devolve from there (animatrix). Humans lose the robot human war hard. They ruin the planet in hopes of cutting off power, but the machines develop the matrix instead to harvest electrical energy. Without stimulation the power harvested is negligible, hence they create a simulation. The first go-around is a utopia but our brains can't handle a perfect universe so the matrix crashes. Crashing = dead humans, which is no good for harvesting energy. In further reboots of it, they realize that things start to glitch after a certain point requiring a reboot of the system. They also realize humans need free will or at least the illusion of it to stay complacent so they create "the one" and their zion mythology who then frees more people. Zion is created as a safe zone for this rebellion in the real world. The preprogrammed "one" then eventually gets lead to the source of the system where everything is explained to them and they are given a choice- reboot the matrix, keeping a new group of "free folk" to restart the cycle or just leave entirely and everyone gets purged. Zion is also destroyed at this point in the cycle. Neo, being the 7th version of this savior/cycle chooses a third option no one has before him- love thanks to trinity, something the machines don't understand but are slowly starting to adapt themselves. Coupled with having a mutual adversary in the rouge smith virus, neo brokers peace. The matrix is rebooted for a new cycle, this time with transparency and more input from machines that understand love (the indian girl who is born from 2 programs for the first time inside the matrix).. There's a little back and forth between the oracle (faith) and the architect (science) at the end that basically hints hard that the oracle manipulated the neo/trinity romance as the root of finally breaking the cycle. We have no idea where neo goes or what becomes of anyone else in the real world...the end? There's an interesting story of this repeated simulation and how we define what determines simulation- if fate and destiny can compete with free will, and some overall badass hong kong BO gun-fu buried under mounds of pretentious horseshit and bad bondage clothing...
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Sep 7, 2019 18:07
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Donovan Trip posted:My buddy and I were talking about all the ways you could make time traveling robots good (hint: there's a billion) and how Terminator movies refuse to do any of those things. Like, what about a Terminator sent back in time to the old West on accident, and a sheriff trying to hunt him down with old west weapons and traps? I'd rather not see a third remake of westworld personally. But I'll agree, yule was the best of all the terminators
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Nov 19, 2019 08:54
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