Lycanthropy run amuck in bloody, noisy remake

THE WOLFMAN (2010)

Reviewed by Jerry Saravia

It is high time that someone revisited the doomed Laurence Talbot of the Universal Horror movie series. Talbot (Lon Chaney, Jr.), of course, was bitten by a werewolf and then becomes one, though he is suffering and wishes for it to go away. That was the principal plot behind the original 1941 classic "The Wolf Man," which also contained the always staggering presence of Claude Rains as Larry Talbot's father. The film had simplicity and was always too short for its own sake but it delivered the chills and an amazingly emotional finish. This 2010 version is longer, bloodier yet far less chilling and Benicio Del Toro's Larry Talbot is harder to sympathize with.

Larry Talbot is now some Shakespearean actor who has returned to the Talbot Estate after his brother has disappeared when, in actuality, he was savagely mutilated by a wolf. Well, we know this was a werewolf who did the mutilation. After some business involving the gypsies (there is a Maria Ouspenskaya-type character played all too briefly by Geraldine Chaplin), Talbot is bitten by a werewolf and, of course, slowly but surely becomes one. He becomes one rather expeditiously, almost too quickly (reportedly, in the uncut version, the transformation scene happens even sooner!) The werewolf appears and bites and kills innocent people. Del Toro is often seen in a reflective, angry pose, and then there is Anthony Hopkins as Talbot's largely unsympathetic, callous father who clearly has one too many skeletons in his closet. Who was that initial werewolf causing so much brutality? I dare not say but I am sure you will figure it out.

Most of "The Wolfman" is atmospheric and pretty to look at (how can it not be with the moors and the countryside all usually lit by moonlight) yet it can't compete with the black-and-white foggy landscapes of the original. The film tries too hard to be the Coppola version of "The Wolfman" (that is, Coppola's lavish "Dracula" from 1992) replete with grimly blood-soaked flashbacks and flashcuts that have already proven to be tedious in most horror films for the last decade. Danny Elfman's music score has flashes of Wojciech Kilar's amazingly thunderous score from Coppola's "Dracula" but the movie can never reach the heights of that heightened romantic horror tale. Everything in "The Wolfman" is a flash of something you have seen before and better (though, to be fair, the screenplay has more of a backstory involving Talbot's mother but none of it is seems to strike much of a chord). With a dull, indifferent leading man and a dull, indifferent father figure and only a small handful of chilling moments (the transformation scene is a keeper, despite CGI use), the movie is cut too together too quickly and abruptly - restless without any true momentum. Only Emily Blunt as Gwen (played in the original by Evelyn Ankers), the fiancee of Larry's brother, exudes some measure of emotion that resonates, especially in a tender final scene between her and the werewolf. You are not likely to howl at the moon after seeing this noisy, mediocre movie - you are more likely to look at it with indifference.

Trivial Battle of the Sexes

THE COMPETITION (2018)

Reviewed by Jerry Saravia

Thora Birch is an actress with a rosy exterior yet her interior suggests less than rosy intentions. Here she plays a formula-devising scientist who has figured out a formula for men she temporarily dates - they will inevitably cheat within a 6-month period. It is actually a decent premise for yet another romantic comedy and Birch has the potential to deliver. Unfortunately, the screenplay by Kelsey Tucker is saddled with extraneous characters and a leading man who can suggest something less innocent than a rose, Chris Klein.

The formula, known as the PIG theory concocted by Lauren (Birch) on her popular blog, clearly suggests that no man is beyond cheating and that her theory is always correct. When she is on board a cargo plane with her boyfriend before he skydives, she exclaims, "We are breaking up!" Of course, we think this guy cheated on her hence why she ends the relationship. Then there is the initial encounter with Calvin (Chris Klein) who works at a law firm and, oh guess what, his boss is Lauren's sister! But this encounter is hardly accidental. Lauren's sister , Gena (Claire Coffee), for reasons only known to her, wants Lauren to quit her PIG blog and become less cynical and get married and settle down, or something like that (Gena doesn't seem to be involved with any man either). The only catch is that Calvin has to get Lauren to give up her cynical, misandrist blog, thus ensuring that his future as partner in the law firm is assured.

If "The Competition" ran along those lines, it may have sneaked past the shopworn cliches as a quirky romantic comedy of manners. There is potential there with Birch's Lauren trying to be convinced that not all men are, well, pigs. It could've been spirited fun seeing Klein's Calvin persuading her with endless attempts to prove that he is not like others. The initial premise is immediately shuffled aside when Calvin reveals the plot I just described to Lauren in the first 15 minutes! Calvin gets the bright idea that there should be a competition among his and Lauren's friends. If any of his male friends are tempted by another woman and act on it, he loses. If not, she loses and gives up the blog. There is much less urgency and tension when the movie is reduced to a few tedious set pieces that do not wring much in the way of laughs or romance, or shall I say any anti-romantic angles.

Chris Klein is somehow miscast though he works well with Birch, the latter who is capable of working up sparks with any leading man. My issue with Klein ever since his "America Pie" days is that he always suggest a demeanor of a calculating, smooth operator, and not some sensitive "I am not like other guys" attitude. Calvin's friends are virtually anonymous and free of any real passing interest. The women that Lauren approves of wooing Calvin's friends are mostly strippers (hmmm, what is the message here?) We also get an unnecessary subplot about Lauren's mother marrying a younger Latino man, and far too much time spent on Calvin's friendly (and married) female associate that involves flinging breast milk!

Thora Birch does work a few wonders with her Lauren character, though at times her role is left out of the story. When we get too many scenes of Calvin's group of non-idiosyncratic friends, I lost interest. "The Competition" is adequate time-filler (based on a short film called "The PIG Theory", also written by Kelsey Tucker) but it could have mined its initial premise for something more than a cheating contest. A battle of wills carries more urgency. 

A World of Zero Charisma

SUSPECT ZERO (2004)

Reviewed by Jerry Saravia

Viewed on August 27th, 2004

"Suspect Zero" is one of the most nonsensical and implausible thrillers I've seen in a long time. Actually, its plausibility is so dependent on obscure plot twists that human characters are at about the level of human waste.

Aaron Eckhart (who could certainly play a 1930's Indiana Jones, if anyone is interested) is the latest FBI agent in the movies, albeit one with problems in his career past. His name is Thomas Mackelway, who proves to be a loose cannon when we see him beat the living daylights out of a suspected killer before arresting him. Due to such unprofessional conduct, Mackelway is demoted to an Albuquerque, N.M. office, and his first case is a murder that occurs on the state line between Arizona and New Mexico. The murder victim is a traveling salesman found with his eye lids removed. Other murders begin taking place, including the killer that Mackelway tried to arrest. And he starts receiving faxes from someone who may be the killer, or not. His former partner, Fran
(Carrie-Anne Moss), tries to help him on this case, and to make sense of the endless faxes of missing persons. They are from a former FBI agent, Benjamin O'Ryan (Ben Kingsley), who has a telepathic ability, with the use of GPS coordinates, to find serial killers. In fact, Benjamin may be killing serial
killers. Or is Benjamin the killer himself who enjoys leaving clues for our less than stalwart G-man?

"Suspect Zero" is the kind of thriller where Dutch angles, grainy film stock, intense, sweaty close-ups and a murmuring soundtrack give the semblance of a moody thriller. Sometimes, the conceit works. Here, the story is impossible to follow thanks to a dozen loopholes and plot holes. For example, how on earth can GPS help Benjamin locate a killer? The movie shows that Benjamin's own FBI
training came from a secret government project ("Project Icarus") where telepathy was the main course of action to find serial killers. That's fine, but how does one develop telepathic capabilities where they see crimson-colored images of crimes that are about to happen? Is he more clairvoyant than telepathic? And how come Mackelway has the same ability? And does Benjamin's
ability extend to people related to a murder case, not just the killer(s)? And what's with the constant migraines? And how come Fran refers to paintings of Jesus as the work of a freak?

The problem is "Suspect Zero" develops next to zilch in terms of characters and a story worth caring about. As played by Eckhart, Mackelway comes across as indifferent and apathetic. Since he is the main protagonist, we are left wondering why his only noticeable trait is that he takes a mouthful of aspirin before his day begins. His relationship with Fran does have one touching moment
that is squandered by the actor's indifference. At least Carrie-Anne Moss is a unique actress who can project vulnerability in spades, so much that we wish she was the protagonist and Eckhart was second fiddle. As for Ben Kingsley, he seems to have taken part in an extended cameo where he mostly sweats, jots down numbers, and is concentrating deeply on something. He does have one humorous moment where he sees a truck and says, "I wonder what is inside that truck."

Director E. Elias Merhige ("Shadow of a Vampire") believes frenetic, gory, fulsome imagery in quick flashes is a substitute for suspense. It could have been with empathetic characters and a fleshed-out story, but the people in this movie live in a world of zero charisma.

Interview with Rutanya Alda: Championing the 95%

INTERVIEW WITH RUTANYA ALDA: 

CHAMPIONING THE 95%

By Jerry Saravia
Reprinted with permission by Steel Notes Magazine

Poster for 1968's Greetings

Most actors start their careers in grade Z garbage, either some exploitation film or a demented slasher flick or a silly monster movie. Helen Mirren's inauspicious beginnings were in the catastrophically bad "Caligula," a minor example. Jennifer Aniston began life in the horrendous 1993 horror film "Leprechaun." Latvian-born Rutanya Alda had one of the luckiest acting debuts of all time, in none other than Brian De Palma's 1968 cult classic, "Greetings." To follow that role with "Hi, Mom!," another De Palma film and one of the finest sequels ever made, and then a long list that includes "Scarecrow," "The Long Goodbye," "The Fury," "Rocky II," "Black Widow," "Amityville II: The Possession," "When a Stranger Calls," "The Dark Half," "The Deer Hunter," "Mommie Dearest" and many more proves that she is one of the finest character actresses, period. A 50-year-career that includes over a hundred roles in television and film is nothing to sneeze at. As Rutanya points out, no matter how many roles you get, there is still concern when you are not a superstar of Angelina Jolie's status who represent the 1% who never worry about their next acting gig. "We are the 95% who struggle, who worry when they will get their next job."

The De Palma origins remain fascinating for a director whose specialty became Hitchcockian thrillers. "Greetings" and "Hi, Mom!" are counter-cultural late 60's satires that touch on everything from racism to porn to politics and even the Kennedy assassination! Rutanya counts both De Palma films as her "favorite film experiences." As for "Greetings," she states: "I had a really funny strip scene with Robert De Niro. Audiences always laugh at the scene. I am also on the poster for the film."

Following "Greetings" came the 1970 sequel, one of the greatest, shrewdest and funniest satires ever made, "Hi, Mom!" Rutanya had a memorable appearance in De Palma's "Hi, Mom!" as a member of a group of WASP's who enter a so-called theatre production of "Be Black Baby" - it is one of the more surprising, illuminating scenes about race ever. "It was gut-wrenching and powerful," says Rutanya. "It was a one-take scene, full of Brian De Palma's humor. All the dialogue was improvised - there was no script. Same with 'Greetings'." The controversial scene caused audience walkouts when she saw it a L.A. screening a few years back. "A woman was crying in the bathroom," explains Rutanya. "When I came up to her, I explained that the scene was not real, and I was not really raped. The woman screamed, 'It was real to ME!' I told her it was real to me too."

Rutanya Alda (right) in The Deer Hunter

Long before Oliver Stone's "JFK" arrived on the scene, there was a 1973 film called "Executive Action" where Rutanya was cast as a member of an assassination team. "The film opened and died at the box-office," explains Rutanya although she has no idea why the film didn't make it (according to imdb, the film was pulled because it was the cause of too much bad press). "The filmmakers were nervous throughout the two-week shoot. Everything was hush-hush, and a lot of the shooting locations were last-minute." [Footnote: Rutanya had been offered a role in Sidney Lumet's "Serpico" but she had to back out since she was filming "Executive Action" at the time.] Robert Altman, one of the premier iconoclasts of the 1970's and beyond, cast Rutanya in "The Long Goodbye." In the film she played one of Marlowe's neighbors (character's name is Rutanya Sweet, Altman's idea) and, though it is not shown in close-up, she shows some skin to say the least (not unlike her role in "Greetings".) "I had worked on the whole shoot," says Rutanya. "I was asked to stand in for Nina Van Pallandt" (Pallandt played the lead role of the wife of Sterling Hayden's character, Roger Wade).

One of Rutanya's first jobs when she moved to L.A. was in an episode of TV's "Cannon" entitled "Perfect Alibi," where she played a grieving widow, Mrs. Degan. The memories of working with William Conrad, who of course played Cannon, were a bit unusual. "You don't look at William Conrad, and he does not look at you. It was a rule," said Rutanya. "He was an odd duck."

Rutanya Alda (right) in Mommie Dearest

I did express curiosity about Rutanya's highly restrained performance in "Mommie Dearest," playing such a passive maid to Faye Dunaway's high-strung, explosive Joan Crawford, whereas in "Amityville II: The Possession" Rutanya played a highly emotional woman married to that abusive lout of a husband (Burt Young). I had asked about her preference when it comes to acting, raising it a notch or two or dialing it down. "It depends on what the script calls for. It is the job of an actor to justify the reactions of the characters," said Rutanya. "For 'Amityville II', director Damiano Damiani addresses the psychological terror of a family that is very dysfunctional. Even with 'Mommie Dearest', the input is on the actor." As for Diane Franklin's emotionally disturbing role as the daughter to Rutanya's mother character in the haunted house sequel, I had wondered if Diane clinged to her. "Diane was the most inexperienced of the cast yet she was wonderful," said Rutanya. "Damiano was on hand to help her emotionally."

I had not been aware until very recently that Rutanya was married to one of the grittiest character actors with the raspiest of voices of all time, the late Richard Bright. Being an actor married to an actor can result in petty jealousies and messy divorces, especially in Hollywood. "It was very tough," said Rutanya. "Two people have the same concerns and it is tough to be creative all the time. The best match for a couple is to marry someone who is not in the same business. It was fun to work on some of the same projects [1994's 'The Ref' was one of those projects as well as 1983's "Vigilante" with Robert Forster], though we did not share any scenes together. If you are committed actors in a couples' situation, you respect the same insecurities, fears and anxieties."

Lastly, I had to ask about Rutanya's small role as a museum curator in Bob Rafelson's 1987 suspense thriller "Black Widow" with Debra Winger and Theresa Russell (Rutanya considered Theresa a "doll to work with.") Aside from Winger's troubling relationship with Shirley MacLaine in "Terms of Endearment," I had wondered what was the experience of working with the notoriously difficult Debra Winger. "I saw Debra at an Academy luncheon at the 21 club. An academy member said,  'Look there's Debra Winger, didn't you work with her?'  Yes, I said. The member then said, 'Dont you want to go say hi to her.' No, I said. I think that says it all. I didn't need to elaborate then and I don't need to elaborate now. Shirley said it...that's all."

Be sure to read Rutanya's memoir of making "Mommie Dearest" at

What is seen, is not always what is real

A NIGHTMARE ON ELM STREET (1984)

Reviewed by Jerry Saravia

Remembering Wes Craven's Definitive Nightmare

"What is seen, is not always what is real" 

That singular line defines the Elm Street series in general. It also defines the original "A Nightmare on Elm Street," a 1984 horror film that plays with audiences' expectations of fear and dread and of not waking up from a nightmare. 1974's "Texas Chainsaw Massacre" was a living nightmare of real horror perpetrated by sick, degenerate killers. "A Nightmare on Elm Street" is about the fear that what happens in a dreamed nightmare is not just being dreamt - it is evocative of real fears we keep silent in our everyday existence.

Ostensibly marketed as the latest in a series of cumbersome slasher flicks during the mid-1980's, New Line Cinema's first major film, "A Nightmare on Elm Street," blew away all the slashing competition. Here we had teenage characters who possessed more than one dimension. The underrated performance by Heather Langenkamp as Nancy evokes a shy girl full of innocence who slowly gains control. At first, she is the innocent girl-next-door type who can't bring herself to sleep with her boyfriend (Johnny Depp), who lives across the street from her. Her parents, workaholic Lt. Thompson (John Saxon) and hard-core alcoholic Marge (Ronee Blakely), have Heather in their best interests yet they remain emotionally guarded. Tina (Amanda Wyss) is one of Heather's best friends yet she is having a little problem sleeping, having nightmares of some burn victim with razors for fingers. Amazingly Heather has the same nightmares, and so does Tina's troublemaking boyfriend Rod (Jsu Garcia). Who is that burn victim with a red-green sweater who haunts their dreams? Anyone versed in the Nightmare on Elm Street mythology will know the answer to that.

"A Nightmare on Elm Street" has been described by Robert Shaye (New Line Cinema's own founder) as a dream-within-a-dream-within-a-dream. That begs the question: at which point is the film part of any given reality? That I cannot say but I would not call it a Dream Film, like any of David Lynch's more preternatural excursions beyond "Blue Velvet." Obviously when a slimy tongue extends from a phone's receiver or when Nancy somehow pulls the creature's old battered hat from her nightmare, one can understandably view such moments as nightmares (keep in mind that Nancy stays awake for seven days while consuming copious amounts of coffee). I would say the whole film is a nightmare. The first clue may be the first daylight scene in the film where we see some kids playing jump rope and singing "One, two, Freddy's coming for you" while in the same sustained foggy shot, the camera tracks into the teenagers arriving at school. Nancy never quite wakes up -- she is fighting to stay awake but that is all a dream.

Horrormeister Wes Craven, who wrote and directed "Nightmare on Elm Street," has crafted an elegant film of uniform tension and extreme dread. There is no let up from what occurs from scene to scene. Just when Tina is trying to wake up from her nightmare, the horror continues with blood splattered across the walls and on the bed while laying next to Rod who tries to wake her up (a scene you would never understandably find in any of the teen sex comedies of the 80's). When Nancy wakes up screaming after falling asleep in class during a reading of Hamlet, she hastily leaves realizing she has an actual burn in her arm she acquired during her nightmare. Night or day, or whether she is at a sleep study or someone else's house or at school, the nightmare never ends - it intensifies.

Another factor that was lost during the progression of "Elm Street" sequels (though none are as scary, they are all ultimately disturbing) was the depiction of Robert Englund's iconic monster Freddy Krueger. Unlike other installments, Freddy is hardly visible on screen -- he is shrouded in darkness and has mostly an extended cameo. He is a despicable creature who could care less about himself, especially when slicing his body open or cutting off his own fingers. "This...is God," as Freddy holds his talon glove over his face. It is this depiction that helps make the teen characters empathetic to the audience -- we are in their shoes and want them to stay caffeinated and alert, or else. You get killed in the dream, you die in reality. When Nancy wishes Freddy away by sucking all his energy, we want to believe her strength in allowing herself to literally turn her back on this monster. By the end of the film, we believe the real nightmare has begun - waking up to reality.

Nothing up its virtual reality sleeve

THE MATRIX REVOLUTIONS (2003)

Reviewed by Jerry Saravia 

After seeing the dreary "The Matrix Revolutions," I have nothing but sour feelings for this series. The original "The Matrix" is possibly better than my initial pan of the film, though I am not sure it works as a kung-fu actioner with sci-fi effects and occasional existential quotes. "Reloaded" is a far better film, stronger in every department though it, too, gets mired in over-the-top action scenes like an interminable 14-minute freeway chase. Still, "Reloaded" had moments where the reality factor of sense and smell in a virtual reality were put forth, as well as questions about machines versus man. "Revolutions" could have put the cap on the trilogy by taking such ideas further, as promised by "Reloaded." Instead this movie is overlong and exhaustingly repetitive, coasting on a never-ending mirage of shootouts and shoot-them-ups that border on noisy overkill. Call it revolutions of an under-imagined script.


Neo (Keanu Reeves), also known as Mr. Anderson, the hero and savior of "The Matrix," was last seen in a coma. He is finally brought out of his coma and is trying to figure out how to save the city of Zion. You see, Zion will be demolished by the expedient spider-like robots with tentacles, known as the Sentinels, and thus destroy the world the humans live in. The evil Agent Smith (Hugo Weaving), last seen battling Neo with multiple clones of himself, is hellbent on destroying Zion as well, though his nefarious plans include nothing more than living amongst all his clones in a rain-drenched, anonymous city (what a visionary)! Smith is from the virtual reality world and must get rid of Neo, and Neo must save Zion. No X-Box games will be awarded to anyone who can guess that these two will battle to the death yet again.

Meanwhile, Jada Pinkett Smith, returning from "Reloaded" as Niobe, is shown to commandeer a ship with such class, sweat and authority that she is easily the best thing in the entire movie. There are also diminishing returns by Carrie Anne-Moss as Trinity, Neo's leather-clad girlfriend, the Obi-Wan-like Morpheus (Laurence Fishburne, looking quite bored), and many other characters who bark orders and not much else - unless you have seen "Reloaded," you'll have no idea who they are. The Merovingian (Lambert Wilson), the Frenchman, returns all too briefly along with Monica Belluci as his wife - nice but fleeting. Most of "Matrix Revolutions" consists of battle scenes galore, guns ablazing in slow-motion, ships moving at near-hyperspace speeds and hundreds of Sentinels moving with whiplash ferocity across the screen, but what in blazes is all this about? What is at stake and whom should we root for? Neo is practically left out of the movie until the last third - either it is a blessing or a disappointment to see Keanu Reeves in a supporting role. The Oracle (Mary Alice, replacing Gloria Foster who died during production of "Reloaded") is nothing more than a philosophical mirage, though philosophy takes a backseat more than ever for endless, pointless, cumbersome action scenes. The ideas of reality and virtual reality that were starting to develop in "Reloaded" are practically nonexistent in this sequel. The only reality is that this trilogy really had nothing up its sleeve after all.

Matrix Repetitions

THE MATRIX RELOADED (2003)

Reviewed by Jerry Saravia

Viewed on June 13th, 2003

When the original "Matrix" was released in theatres, I had no idea it was going to become a pop phenomenon. I had intensely disliked the first time out, and received floods of angry emails saying I had no idea what I was missing. It seemed firmly established that "The Matrix" was becoming something of a national treasure. But I still did not see what all the hoopla was about. Yes, Keanu Reeves, Laurence Fishburne and Carrie-Anne Moss all looked great in black leather and sunglasses as they shot their way from one room to the next. There were the kung-fu fights where a leap or a kick in the air would be momentarily frozen as the camera panned around it only to be brought back to normal speed. Yes, cool effects, but not much more. I still feel the original film lacks a real story with real, identifiable characters who have some purpose. This "Reloaded" sequel is certainly better but still lacks a focus...it just offers more bang for your buck.

"Matrix Reloaded" wastes no time in reintroducing its characters or story. As the film opens, Trinity (Carrie-Anne Moss) is seen jumping out of a high-rise building as she fires two guns in typical slow-motion speed at the Agents, the bad guys who wear business suits and sunglasses. An explosion, lots of bullets whizzing by in almost molecular form, and more pointless nonsense until we
realize it is only a dream. It is Neo's dream, once again played by the most blank-faced actor in Hollywood, Keanu Reeves. Lest we forget, Neo is really Thomas Anderson, a software nerd who was told in the original film that his reality was actually an illusion. Morpheus (Laurence Fishburne), the Obi-Wan Kenobi of this world, is aware of such illusions and is convinced that Anderson
is Neo (also known as the One), the one who will save them from the machines who
may destroy the Matrix (a program that is the very illusion they live in). There is no doubt as we see how quickly Thomas learns kung-fu and how to adapt in a cyber-created universe where bullets can be dodged in slow-motion. And he's got a beautiful girlfriend, Trinity, who cares for him deeply. Now on to this sequel where we learn that the machines (a group of spider-like robots with piercing
tentacles) are about to destroy the city of Zion, the place where all existing humans live. Neo plugs back into the Matrix to meet with the Oracle (the late Gloria Foster) and discuss something about predestined choices, although does one already choose when they are inside a program or can one feasibly choose differently? Hmmm. Nevertheless, the Oracle tells Neo to find the Source to the
Matrix, and the one that can help is known as the Architect. Before we are allowed the opportunity to delve into such existential questions of choices and other matters, hundreds of Agent Smiths (most of them played by Hugo Weaving) fight Neo. Neo eventually gets away and beats most of them single-handedly.

Back to the philosophy of the "Matrix," I found that the speeches about reality, machines and the inner reality and choices we make would render this film definitely a cut above the original. Consider an early, terrific scene where Neo talks with Councillor Harmann (Anthony Zerbe) about machines - do we control them or do they control us? We can turn off all the machines that generate power
for a city like Zion, so in effect, we need them as much as they need us. Interesting. Also noteworthy is a later sequence where Neo talks with the Merovingian (Lambert Wilson), a stubborn French wit who loves to curse in French. He can lead Neo to the Key Maker (Randall Duk Kim) but that is another story. Consider the initial meeting between Neo and the Frenchman, especially
when he describes how he programmed a blonde woman in a restaurant to feel ecstatic from eating a piece of chocolate cake. It is clever scenes like this that indicate the Wachowski brothers, the writer-director team of the "Matrix" movies, have something else in their minds besides mind-blowing action. They might have taken a cue from David Cronenberg's far more existential, playful
"eXistenZ," a mind-bending reality vs. fiction story that has more up its intellectual sleeve than either of these popcorn movies. But before you can say, how clever, we are bombarded with more kung-fu fights, a 14-minute car-truck-motorcycle chase that runs on too long, more whizzing bullets, more
Agent Smiths, and more of everything. Call it "Matrix Repetitions."

There are more fascinating elements in this sequel, but it all goes to waste. Keanu Reeves still looks like a stoner and a half. Laurence Fishburne is practically in sleep mode throughout, and none of his scenes are half as interesting as Anthony Zerbe's. Monica Belluci as Merovingian's wife brings a
touch of class to the proceedings before she is abruptly shelved for possibly more screen time in "Revolutions." Gloria Foster's abrupt scene as the Oracle lends some degree of intelligence, if only she had more to say. In fact, the dialogue is tighter and wordier than the original, not to mention as abbreviated to make rooms for tons of special-effects. Abrupt is the name of the game of
this sequel as the film ends before it really begins. We are then treated to a preview of "Revolutions" after the end credits. Perhaps in that film, we will begin to see some semblance of a story.