Editor-in-Chief
RSS Feeds
Authors
- Kerry Bolton
- Jonathan Bowden
- Buttercup Dew
- Collin Cleary
- Jef Costello
- F. Roger Devlin
- Julius Evola
- Gregory Hood
- Juleigh Howard-Hobson
- Greg Johnson
- Jason Jorjani
- Ward Kendall
- Anthony M. Ludovici
- Trevor Lynch
- H. L. Mencken
- J. A. Nicholl
- Andy Nowicki
- James J. O'Meara
- Michael O'Meara
- Christopher Pankhurst
- Tito Perdue
- Michael Polignano
- Spencer J. Quinn
- Savitri Devi
- Fenek Solère
- Irmin Vinson
- Leo Yankevich
- Francis Parker Yockey
Archives
- March 2021 (28)
- February 2021 (79)
- January 2021 (81)
- December 2020 (88)
- November 2020 (86)
- October 2020 (131)
- September 2020 (82)
- August 2020 (81)
- July 2020 (88)
- June 2020 (92)
- May 2020 (83)
- April 2020 (82)
- March 2020 (82)
- February 2020 (75)
- January 2020 (80)
- December 2019 (91)
- November 2019 (91)
- October 2019 (89)
- September 2019 (70)
- August 2019 (76)
- July 2019 (74)
- June 2019 (61)
- May 2019 (69)
- April 2019 (72)
- March 2019 (63)
- February 2019 (54)
- January 2019 (78)
- December 2018 (64)
- November 2018 (63)
- October 2018 (70)
- September 2018 (61)
- August 2018 (73)
- July 2018 (58)
- June 2018 (58)
- May 2018 (69)
- April 2018 (60)
- March 2018 (84)
- February 2018 (54)
- January 2018 (76)
- December 2017 (66)
- November 2017 (84)
- October 2017 (79)
- September 2017 (73)
- August 2017 (72)
- July 2017 (61)
- June 2017 (56)
- May 2017 (56)
- April 2017 (54)
- March 2017 (65)
- February 2017 (57)
- January 2017 (59)
- December 2016 (52)
- November 2016 (68)
- October 2016 (61)
- September 2016 (62)
- August 2016 (51)
- July 2016 (63)
- June 2016 (75)
- May 2016 (63)
- April 2016 (65)
- March 2016 (75)
- February 2016 (82)
- January 2016 (82)
- December 2015 (94)
- November 2015 (97)
- October 2015 (75)
- September 2015 (77)
- August 2015 (73)
- July 2015 (66)
- June 2015 (69)
- May 2015 (64)
- April 2015 (72)
- March 2015 (66)
- February 2015 (63)
- January 2015 (81)
- December 2014 (61)
- November 2014 (64)
- October 2014 (79)
- September 2014 (60)
- August 2014 (53)
- July 2014 (72)
- June 2014 (53)
- May 2014 (43)
- April 2014 (51)
- March 2014 (50)
- February 2014 (55)
- January 2014 (64)
- December 2013 (59)
- November 2013 (71)
- October 2013 (64)
- September 2013 (60)
- August 2013 (64)
- July 2013 (51)
- June 2013 (69)
- May 2013 (74)
- April 2013 (76)
- March 2013 (66)
- February 2013 (65)
- January 2013 (78)
- December 2012 (64)
- November 2012 (87)
- October 2012 (76)
- September 2012 (72)
- August 2012 (92)
- July 2012 (71)
- June 2012 (77)
- May 2012 (76)
- April 2012 (78)
- March 2012 (69)
- February 2012 (56)
- January 2012 (72)
- December 2011 (69)
- November 2011 (67)
- October 2011 (98)
- September 2011 (61)
- August 2011 (77)
- July 2011 (67)
- June 2011 (60)
- May 2011 (63)
- April 2011 (66)
- March 2011 (65)
- February 2011 (65)
- January 2011 (84)
- December 2010 (87)
- November 2010 (74)
- October 2010 (78)
- September 2010 (75)
- August 2010 (57)
- July 2010 (71)
- June 2010 (36)
Online texts
- Departments
- Contemporary Authors
- Beau Albrecht
- Michael Bell
- Alain de Benoist
- Kerry Bolton
- Jonathan Bowden
- Buttercup Dew
- Collin Cleary
- Giles Corey
- Jef Costello
- Morris V. de Camp
- F. Roger Devlin
- Bain Dewitt
- Jack Donovan
- Ricardo Duchesne
- Émile Durand
- Guillaume Durocher
- Mark Dyal
- Guillaume Faye
- Fullmoon Ancestry
- Jim Goad
- Tom Goodrich
- Alex Graham
- Andrew Hamilton
- Robert Hampton
- Huntley Haverstock
- Derek Hawthorne
- Gregory Hood
- Juleigh Howard-Hobson
- Richard Houck
- Nicholas R. Jeelvy
- Greg Johnson
- Ruuben Kaalep
- Julian Langness
- Travis LeBlanc
- Patrick Le Brun
- Trevor Lynch
- Kevin MacDonald
- G. A. Malvicini
- John Michael McCloughlin
- Margot Metroland
- Millennial Woes
- John Morgan
- James J. O'Meara
- Michael O'Meara
- Christopher Pankhurst
- Michael Polignano
- J. J. Przybylski
- Spencer J. Quinn
- Quintilian
- Edouard Rix
- C. B. Robertson
- C. F. Robinson
- Hervé Ryssen
- Kathryn S.
- Alan Smithee
- Ann Sterzinger
- Robert Steuckers
- Tomislav Sunić
- Donald Thoresen
- Marian Van Court
- Dominique Venner
- Irmin Vinson
- Michael Walker
- Scott Weisswald
- Leo Yankevich
- Classic Authors
- Maurice Bardèche
- Julius Evola
- Ernst Jünger
- D. H. Lawrence
- Charles Lindbergh
- Jack London
- H. P. Lovecraft
- Anthony M. Ludovici
- Sir Oswald Mosley
- National Vanguard
- Friedrich Nietzsche
- Revilo Oliver
- William Pierce
- Ezra Pound
- Saint-Loup
- Savitri Devi
- Carl Schmitt
- Miguel Serrano
- Oswald Spengler
- P. R. Stephensen
- Jean Thiriart
- John Tyndall
- Francis Parker Yockey
Recent Comments
- Seige on Journey to Nowhere: Jim Jones, Ur-Antifa
- Cicada31 on Crisis & Opportunity
- Spenglers Ghost on Goodbye Twitter!
- James J. O'Meara on Journey to Nowhere: Jim Jones, Ur-Antifa
- Answering Normie Questions, Part 3: Ethnostates, Ethnocentrism, & Hypocrisy | Counter-Currents on Answering Normie Questions, Part 4:
Outliers & Averages - Marie on Journey to Nowhere: Jim Jones, Ur-Antifa
- James J. O'Meara on The Worst Week Yet: February 28-March 6, 2021
- Middle Class Twit on The Worst Week Yet: February 28-March 6, 2021
- Ann K Sterzinger on The Worst Week Yet: February 28-March 6, 2021
- Anon93 on The Worst Week Yet: February 28-March 6, 2021
- SRP on Will Civilization Collapse?
- Anon93 on Crisis & Opportunity
- spin gerahat on Conservatism Against the Avant-Garde
- Anon93 on Video of the Day Charles Krafft at the 2015 London Forum: My Life as a Dissident
- Captain John Charity Spring MA on Journey to Nowhere: Jim Jones, Ur-Antifa
The Matrix Revolutions
Spoiler: Neo and Trinity die and the machines win. Bummer. Most of the rest makes no sense.
I hated this movie.
I didn’t hate it for its racial politics, which are the absolute worst I have ever seen. There are wise, powerful, competent, heroic Negroes everywhere. (The fact that they are all in Zion, a fictional city buried near the center of the Earth, explains why I never encounter them in real life.) There are also so many examples of South-East Asian and Polynesian mystery meat, complete with topknots and facial tattoos, that I scurried home to consult my copy of Carleton Coon’s Living Races of Mankind, which I like to call the Field Guide to Featherless Bipeds.
But as I indicated in my review of The Matrix Reloaded, I was willing to overlook the racial politics of the first two Matrix films because of their very real virtues.
No, what really offended me about Revolutions is the film’s sheer god-awful stupidity.
First, there were the continuity problems. Although Revolutions is set only hours after Reloaded, there are references backward to events that did not happen in the second film. (Or, if they did happen they were so forgettable that, well, I forgot them.) A number of characters also appeared out of nowhere, but acted as if they had already been introduced. The Oracle was played by a different mammy, as the previous mammy had died (without issue, I pray). Allusions were made to the change, but no real explanation was offered. After a while, I began to wonder if this was actually the fourth Matrix film or if the projectionist had misplaced a reel or two.
The plot of this movie is also terrible. There is simply no satisfying resolution of the story lines established in the first two films. The final act is no place to introduce new characters who play absolutely no essential role whatsoever (the Indian family in the train station). The final act is no place to bring back old characters for no particular reason (the Merovingian). The final act is no place to give center stage to forgettable non-characters who shouldn’t even have been introduced in the second movie (Link, Locke, Niobe, a Negress with the world’s biggest lips, the White Step-‘n’-Fetchit, Cornell West, etc.).
Pretty much the whole first half of the movie consisted of pointless, wasted scenes with characters I did not care about. It was nothing but fights, chases, and big brown heads looming up to robotically deliver totally uninteresting lines.
One whole sequence seemed to exist only to show the Negress Captain Niobe humiliating a White male captain by showing her superior piloting skills. The fact that on average women are inferior drivers to men because they have inferior visual-spatial skills, and the fact that the average Negro has about half a billion fewer brain cells than the average White and reacts at a much slower rate to stimuli, just go to show that this is science fiction.
And when the Zionists fight off the sentinels, we see slow-reacting blacks and browns manning the guns, while White males see to the reloading.
We are also treated to scenes of two women, one a dyke, attacking sentinel drilling machines with a bazooka. Another good use of superior female visual-spatial skills and upper-body strength.
But one subplot particularly grated on me: The idealistic White Step-‘n’-Fetchit grovels before and is dressed down by some sort of Mongoloid-Australoid hybrid who is his fearless commander. Later, after taking courage from his commander’s dying words, he goes on to complete the mission at great risk of life and limb. He is a role model for Whites in the real world created by Zion: we must all get used to taking orders from, fighting for, and dying for our racial inferiors.
Only in the second half of the movie, when the focus was mostly on Neo and Trinity trying to save the day, was my interest piqued. I wish the whole movie had been centered on the surviving core characters from the first film: Neo, Trinity, Morpheus, and Agent Smith. Competent writers could have created such a story. Incompetent writers felt the need to fill the story with new characters and pointless scenes hoping, somehow, to generate interest.
I was appalled by the sheer senselessness of the movie’s climax. A central rule of good fiction, especially science fiction, is that the story need not be possible but only plausible. The first Matrix movie established a captivatingly plausible world and pretty much stayed within the rules of that world. Ditto for the second movie. But in Revolutions the rules established by the first movie are thrown to the wind and nothing is done to make the changes plausible.
The machines have burrowed into Zion, and the Zionists are desperately fighting off great swarms of sentinels. The Zionists fight by strapping themselves into big robots, but for all their formidable technology, these robots provide absolutely no protection for their operators. They do not even have windshields, much less protection from shrapnel and Kamikaze sentinels. Stupid Zionists.
The sentinel swarms are visually striking, but I wonder why the machines just didn’t pump Zion full of Zyklon B and be done with it? (They couldn’t flood it with mud and sewage because, genetically speaking at least, it is already chock full.)
I guess the answer is provided by the Architect in Reloaded, who tells Neo that Zion is needed as a safety valve for the Matrix. Since human freedom cannot be destroyed, the Matrix needs a place to send rebellious types to keep them occupied plotting doomed revolutions.
As Zion is about to fall, Neo pilots a hovercraft to the machine city. This is a visually striking sequence too. The machines try to destroy Neo, but fail. He crashes, and Trinity is killed. Then, once he is completely vulnerable, the machines do not finish him off, but instead decide to talk. Why? No reason is given for their change of policy. It simply makes no sense.
Neo strikes a bargain with the machines. (How does he know they will keep their word? Do machines have a sense of honor?) They will call off their attack on Zion if Neo does them a favor. But doesn’t the Architect in Reloaded say that Zion will be started again by the machines no matter what, so apparently they were already going to stop the war at some point.
Agent Smith, who began to replicate himself in Reloaded (How? Why?), is beginning to run amok, absorbing other programs and taking over the matrix (How? Why?). The machines can’t stop him (Why not?). But Neo can (How?). Agent Smith even manages to take over the minds of people in the real world (How?).
The climactic battle between Neo and Smith is visually exciting, but since the rules of the matrix have been forgotten, the whole thing seems totally arbitrary.
In the midst of the battle, Smith pauses for a moment for his midlife crisis. He asks what it’s all about. Why does life go on? Why does Neo continue to fight? It is quite a speech, quite a build-up. We are led to feel that Neo’s answer will be highly significant, perhaps the key to the meaning of the whole trilogy. His answer is: “Because I choose to.”
It’s like watching the titanic labor pains of an elephant, but in the end out pops a mouse.
But Neo still defeats Smith. But how? What really happens to Smith? What was Neo’s edge? Virtue? Strength? There is no answer, so Smith could just as well have defeated Neo. It makes no sense.
After defeating Smith, Neo apparently dies and is carried off on a hovercraft like Arthur to Avalon. Freed of Smith and Neo, the machines are in the position to finish off Zion completely, but they call off the attack.
The White Step-‘n’-Fetchit sees the machines leaving. There could be any number of reasons for this, but having seen the script, he immediately concludes that the war is over and proclaims the news. The mud people begin to gyrate with joy. Zion is saved. We are supposed to feel happy, but nobody in the audience seemed particularly jubilant because by that point the movie had become numbingly uninvolving.
And what about liberating the human race from slavery? Has that been called off? Wouldn’t that be a satisfying end to the movie? Wasn’t that what the war was all about? Preserving Zion is not a victory over the machines, but part of their policy. So I guess the machines have won.
Meanwhile, back in the Matrix, the Oracle meets the Architect in a park. The Architect promises that some humans will be freed. (Of course some of them will: that is why Zion is necessary.) Then the Oracle looks off into a rainbow tinted dawn and says that she didn’t know that any of it was going to happen, she just “believed.” I guess that was the mouse’s afterbirth. What a bunch of horseshit.
Don’t waste your time with this movie. If you liked The Matrix and The Matrix Reloaded, The Matrix Revolutions can only diminish your enjoyment.