I know I’ve posted it on here before, but I like some of the cod philosophy because you can use it to figure out that the Matrix runs on Unix rather than Windows.
Neo’s life is the sum of a remainder of an unbalanced equation inherent to the programming of the matrix. He is the eventuality of an anomaly, which despite the Architect’s sincerest efforts he has been unable to eliminate from what is otherwise a harmony of mathematical precision. While it remains a burden to sedulously avoid it, it is not unexpected, and thus not beyond a measure of control. Which has led him, inexorably, here.
I figured it was something like that.
I haven’t seen any of them in ages, but here is what I can remember about what happens.
The Matrix has a flaw because human will and potential cannot be bottled up like that. Eventually enough of the system will go off the rails to let resistances like Zion come about, so Neo is actually a cog of the Matrix to facilitate an easy transition of these resistances.
Like the Architect said, Neo isn’t the first Neo, and it’s gotten easier to do this thing every time the system closes another loop. Revolutions focuses on Neo finding a third option to chaos of human extinction vs. the machines giving humanity false hope through figurehead messiahs like himself so that the system can continue.
‘Sleight’ Helmer J.D. Dillard In Negotiations To Direct & Co-Write ‘The Fly’ Remake For Fox
J.D. Dillard, whose directorial feature debut Sleight made waves at Sundance last year, is in negotiations to direct and co-write a remake of classic horror pic The Fly for Fox. He would pen the script with writing partner Alex Theurer.
There have been rumors buzzing around for a while that a remake of the story of a scientist who mutates into a grotesque human fly was on the horizon. David Cronenberg’s 1986 body-horror classic, which starred Jeff Goldblum and Geena Davis, is considered arguably one of the director’s best pieces of work. That film was a remake of the 1958 version, produced and directed by Kurt Neumann and based on a short story by George Langelaan, which was followed by two sequels: Return of the Fly and Curse of the Fly. Should the Dillard-Theurer deal make, it would really move the project, and potential franchise, forward for Fox.
Dillard and Theurer certainly would bring fresh blood to the cult-classic horror pic: Dramatic thriller Sleight, which Dillard directed and co-wrote with Theurer, blended science fiction and street magic in a tale set in Los Angeles. It sees a young street magician who is left to care for his sister turn to drug peddling to keep a roof over their heads. When he gets in too deep, his sister is kidnapped and he is forced to use his magic and brilliant mind to save her. WWE Studios and Jason Blum’s Blumhouse acquired the title after it premiered in the Sundance Film Festival’s Next section last year. It hits cinemas on April 28.
Dillard is in pre-production on Sweetheart, also for Blumhouse. That horror-thriller, which he co-wrote with Theurer as well as Alex Hyner, has set Dope’s Kiersey Clemons to star.
A good conversation I’ve had with friends is to try and predict what a new Matrix movie would look like. Would it get The Force Awakens treatment (please no), or a straight reboot? Who would they cast? Which hit indie director would be given the reigns? What baffling written by committee decisions would we see? How many moments from the first movie would be rehashed, and what they would dare to reference from the second and third films?
Whatever we thought of, none of it was good.
If the Wachowskis are interested and coming back, then great. If not, then please leave it.
Alright. I’m in.
Seems a bit similar to Book of Life but I’d give it a try.
Somewhere between Alan Partridge and Garth Marenghi there is… Mindhorn!
You might be surprised.
That looks like fun.
I don’t think I would be.
Notorious hard man of cinema, Russell Crowe, summed it up nicely for me on a radio interview when asked if he was a fighter and a rebel. He said he wears makeup every day for a living and his main hobby is composing poetry. Ryan Gosling didn’t spend his late teens as a silent and violent character you see in “Drive”, he was wearing MC Hammer pants dancing as the only guy in all girl dance troop.
I would put a strong wager that there are people more connected to that in the street I grew up in than half the actors famed for it.
But none of those people are Italian-Americans generally based in a large city. It has nothing to do with the kind of characters they play on screen. It has to do with heritage. If you had picked just about any other correlation, I would agree with you but a lot of people who identify as Italian-Americans know at least someone in the mafia.
If you ask any Italian-American they’ll tell you there’s no such thing as the mafia.
It’s nonsense Ronnie, these people are stage school graduates and child stars, more familiar with pretending to be an ice cream and taking ballet classes and no closer ties to organised crime than I have.
It’s all really random things people grab onto to form some kind of identity. You couldn’t imagine how many born and bred Dubliners I know that regard almost all American born Irish as pretty much fakers. It’s not fair but it equally shows how limited heritage is.
Honestly I think the Matrix sequels are overall underrated and misunderstood movies. Maybe not so much the third one, but definitely the second one.
Go ahead, LAUGH AT ME!
What? You said go ahead.