‘The Matrix’ Reboot in the Works at Warner Bros


The 1999 sci-fi movie is coming back.
More Matrix? Bet on it.It’s still not clear what shape the project will take, but sources tell The Hollywood Reporter that Warner Bros. is in the early stages of developing a relaunch of The Matrix, the iconic 1999 sci-fi movie that is considered one of the most original films in cinematic history, with Zak Penn in talks to write a treatment.Sources say there is potential interest in Michael B. Jordan to star, but much must be done before the project is ready to go.

At this point, the Wachowski siblings, who wrote and directed the original and its two sequels, are not involved and the nature of their potential engagement with a new version has not been determined. Certainly, Warners would want the two filmmakers to give at minimum a blessing to the nascent project. The studio had no comment.

Joel Silver, who produced the original trilogy, is said to have approached Warners about the idea of mining The Matrix for a potential new film. However, Silver sold his interest in all his movies to the studio in 2012 for about $30 million, according to sources. Warners is said to be leery of including him in any meaningful role, as he not only has a reputation for budget-control issues, but apparently has a strained relationship with the Wachowskis. The siblings hold much more meaning for fans than the producer. Silver’s reps did not immediately respond to a request for comment.

Written and directed by the Wachowskis, the original movie sees humanity living in a simulated reality, unaware that humans are in pods in which their bodies are being harvested for energy. A computer programmer named Neo (Keanu Reeves) slowly becomes aware of this suppressed existence, eventually becoming humanity’s one true hope (Neo = One) to overthrow the oppressors. The pic also starred Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving.

The Matrix was released in a quiet period of the 1999 release calendar — March 31 — and Warner Bros. didn’t have outsized expectations for an action movie with obvious Manga and comic-book influences. But the story and ground-breaking special effects (including the slow-motion “bullet time” effect, which launched dozens of imitators in the years that followed) became the highest grossing R-rated film of 1999 in North America, and the fourth-highest grossing film of the year worldwide. It also won four Academy Awards.

Two sequels, Matrix Reloaded and The Matrix Revolutions, were not as well received, but Reeves’ deal for those films made him one of the richest actors in Hollywood.

While promoting John Wick: Chapter 2, Reeves said he would be open to returning for another installment of the franchise if the Wachowskis were involved. “They would have to write it and direct it. And then we’d see what the story is, but yeah, I dunno, that’d be weird, but why not?” he told Yahoo Movies. However, it is likely that Warners will look elsewhere to attract an A-list director and star.

While some at Warners consider the title among the studio’s sacrosanct properties, such as Casablanca, others see a need to redevelop it in an environment where studios are desperately looking for ways to monetize their libraries and branded IP is hard to come by.

The idea of adapting The Matrix as a television series was nixed in recent months. But Warner Bros. sees a model in what Disney and Lucasfilm have done with Star Wars, exploring the hidden corners of the universe with movies such as Rogue One: A Star Wars Story or the in-production young Han Solo film. Perhaps a young Morpheus movie could come out of the exploration, as an example.

Penn is a writer with deep roots in the geeky genres in which Matrix travels. He created the Syfy network’s super-powered show Alphas and has been involved in comic book movies ranging from the X-Men franchise to The Avengers.

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‘GRAVITY’ IS A LACKING STORY BUT AN UNBELIEVABLE EMOTIONAL EXPERIENCE


Gravity

Alfonso Cuarón must have felt pretty certain that nobody would be coming to Gravity for the script. Though his reputation as a writer sings of creativity and deviation from the typical Hollywood fodder, every beat in his surprisingly linear outer space film feels not so much like an exploration of a fascinating story, but more like a means to transport an audience (that’s us) to the next harrowing explosion of IMAX technology. On the surface, this probably sounds cheap — you signed up for a movie, not a roller coaster. But if it is the principal purpose of any movie to offer its audience an emotional experience, then Gravity is an unquestionable triumph.

In fact, it should say a great deal that the moreover “typical” narrative that throughlines this movie doesn’t undercut the experience. Through the film’s dazzling effects and a profoundly immersive directorial style, Gravity gives us something that feels altogether new.Sandra Bullock’s new-to-space scientist Dr. Ryan Stone doesn’t break the mold on action-adventure heroes of either gender, but you’ll be adhered desperately to her every move thanks to the veritable space simulator that Gravity really is.

It’s far more than just the benefits of IMAX technology that keep us feeling like we’re inches from life-threatening danger at all times. It is Cuarón’s flare for the construction of genuine tension. We open on a painfully slow climb up a mountain of dread, with a nauseated Stone struggling to repair a faction of the ship while a pseudo-nihilistic astronaut Matt Kowalski (George Clooney, who can be paid credit for all of this film’s moments of comic relief) jet-packs around her recounting stories of Marti Gras and romantic infidelity. All the while, aimless conversation and pleasant radio melodies notwithstanding, our chests grow heavier with anticipation of what is about to follow this mammoth single take. Disaster.

Gravity© 2013 Warner Bros. Entertainment Inc.

And once it hits, we’re gone. Drowning, treading for dear life for the hour and change to follow, thrown a leaky life preserver on occasion when Stone (our consierge through this unforgiving nightmare) manages some semblance of momentary sanctuary from the insatiable abyss all around her. Our anxiety never dips below “barely sustainable” as Stone efforts to lay waist to probability and fight her way back to safety. At no point in the entire real-time adventure do we feel liberated from Stone’s danger. The magic of this movie makes us feel everything that she does, without allowing for even a second of comfort to be drawn from the fact that we, and Bullock, are in no real harm.

To reiterate, it is nearly miraculous that we can’t, even if and when we really want to, grip at the refuge of the “it’s just a movie” mentality, especially in the face of a plotline you might find occupied by a Ron Howard epic. No, we’re far too deep by the time the danger strikes to conceive of a world beyond the one Cuarón forces upon us. He’s strategic generous in his inclusion of Clooney’s loquacious playboy: without a few trembling smiles, we might succumb to full-on nervous breakdown. But Cuarón peppers the pleasantries in just seldom enough to keep the titular sentiment so painfully alive.

Gravity is the sort of movie that demands as big a screen and as focused a pair of IMAX-framed eyes as possible. It doesn’t offer much dramatic surprise — in fact, we’re prepared for just about every big turn — but the shocks, the screams, the moments that make you cower and whimper and hope to dear God that Stone is going to be okay are plentiful. Beyond plentiful, in fact. They’re the whole way through. So a great story, it might not be, but in its achievement of this degree of emotional immersion, Gravity is an unbelievable piece of work.

Source: Hollywood.com