Creatively unfulfilled and facing financial ruin, the fictionalised version of Cage must accept a $1 million offer to attend the birthday of a super fan (Pascal).

When things take a wildly dangerous turn, Cage is forced to live up to his own legend, channelling his most iconic and beloved on-screen characters in order to save himself and his loved ones.

With a career built for this very moment, the Academy Award® winning iconic actor must take on the role of a lifetime: himself.

The Unbearable Weight of Massive Talent will be released in Australian cinemas April 21!
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In “The Matrix Resurrections,” return to a world of two realities: one, everyday life; the other, what lies behind it. To find out if his reality is a physical or mental construct, to truly know himself, Mr. Anderson will have to choose to follow the white rabbit once more. And if Thomas…Neo…has learned anything, it’s that choice, while an illusion, is still the only way out of—or into—the Matrix. Of course, Neo already knows what he has to do. But what he doesn’t yet know is the Matrix is stronger, more secure and more dangerous than ever before. Déjà vu.

Reeves reprises the dual roles of Thomas Anderson/Neo, the man once saved from the Matrix to become the savior of humankind, who will once again have to choose which path to follow. Moss portrays the iconic warrior Trinity… or is she Tiffany, a suburban wife and mother of three with a penchant for superpowered motorcycles?

Yahya Abdul-Mateen II (“Candyman”, the “Aquaman” franchise) plays the wise and worldly Morpheus who, as always, serves as a guide to Neo while also fulfilling his own greater purpose on a very singular journey of self-discovery. Jessica Henwick (TV’s “Iron Fist”, “Star Wars: Episode VII – The Force Awakens”) plays the hacker Bugs, the proverbial white rabbit on a mission to discover the one who sacrificed himself for humankind–and willing to take any risk necessary in search of the legend she idolizes.

Jonathan Groff (“Hamilton”, TV’s “Mindhunter”), plays Thomas Anderson’s business partner, a slick, confident corporate type with insouciant charm, a disarming smile and an eye on the bottom line–everything Mr. Anderson is not. Neil Patrick Harris (“Gone Girl”) plays Thomas’ therapist, working closely with his patient to understand the meaning behind his dreams and to distinguish them from reality.

Priyanka Chopra Jonas (TV’s “Quantico”) plays a young woman with a wisdom that belies her years and an ability to see the truth, no matter how murky the waters. And Jada Pinkett Smith (“Angel Has Fallen”, TV’s “Gotham”) returns as Niobe, the fierce General who once fought for the survival of Zion and who now sees to the welfare of her people with a familiar fire in her eyes, despite a sense of disbelief and suspicion upon Neo’s return.

Lana Wachowski directed from a screenplay by Wachowski & David Mitchell & Aleksandar Hemon, based on characters created by The Wachowskis. The film was produced by James McTeigue, Lana Wachowski and Grant Hill. The executive producers were Garrett Grant, Terry Needham, Michael Salven, Karin Wachowski, Jesse Ehrman and Bruce Berman. Wachowski’s creative team behind the scenes included “Sense8” collaborators: directors of photography Daniele Massaccesi and John Toll, production designers Hugh Bateup and Peter Walpole, editor Joseph Jett Sally, costume designer Lindsay Pugh, visual effects supervisor Dan Glass, and composers Johnny Klimek and Tom Tykwer.

The Matrix Resurrections will be released in Aussie cinemas this Boxing Day!
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The biggest obstacle the film fails to overcome is in one of its lead castings as writer/director Seth MacFarlane is a very average actor and his role is not helped at all by the awkwardness of the writing. MacFarlane’s take on a modern day intellectual being able to deal with the brutal ways of the early American west ends up falling very flat. The rest of the actors are well cast but head bad guy Liam Neeson is given very little to do.

It’s a sign of our conservative times that even when attempting to be cutting edge and genre expanding, there are so many topics perceived to be out of bounds. It makes almost all comedies, even the ones that are trying to be shocking, ultimately quite mundane. MacFarlane tries his usual scattershot approach and along with his animation efforts like Family Guy and The Cleveland Show occasionally kicks the funny bone.

It’s doubtful that future generations will look back on this film as referential but for modern day viewers this is as out there as any money making cinematic effort of this generation. Hopefully the future will give filmmakers the ability to really push the boundaries of what constitutes shock comedy.

Rob Hudson
www.amillionways.com