The Birds (film)

Could the birds be getting back at mankind for all the abuse, exploiting and hunting they have been through?. In Team America, two fighting characters jump into the air, freeze, and then they revolve rather than the camera. The caged lovebirds brought along throughout the movie serve as a subtle justification to the bird attacks. In Scary Movie, the 'killer' doubles back like Neo does when shot by an Agent on a rooftop, except he hurts his back. One reason could be revenge/uprising. The effect has been parodied in many comedy films such as Scary Movie, Shrek, Kung Pow: Enter the Fist, and Team America: World Police, and in TV series such as The Simpsons. The ending to this movie is purposefully abrupt in order to allow the audience to make their own guesses as to why these birds attacked. Following The Matrix, countless films have now begun to make abundant use of slow-motion, spinning cameras, and, often, the famed bullet-time effect of a character freezing in mid-air and the camera panning around them.

He brings the car around front and helps Cathy, Melanie, and Lydia inside, then drives away, parting waves of birds that seem to lie in anticipation of something... To many martial arts, action or SF fans however, an unfortunate side-effect was a sudden and obvious surge in movies, commercials and pop videos blatantly copying "the matrix look", usually without the training and attention to detail that made it successful in the first place. Mitch quietly enters the garage and turns on the car radio, which reports that bird attacks have occurred further inland, mentioning the town of Santa Rosa, about thirty miles away. The success of this film put those choreographers in high demand by other filmmakers who wanted fights of similar sophistication. Here, Hitchcock offers one of the most surreal and apocalyptic scenes to appear on film, as a sea of birds move under a cloudy twilight. The Matrix upped the ante for cinematic fight scenes by hiring acclaimed choreographers from the Hong Kong film scene where such scenes had been refined by years of experience. Realizing that she needs to get to a hospital, he tells the others that they have to leave, and daringly ventures outside to get the car. The case also targets the producers of the Terminator franchise.

Unable to fight, she collapses onto the floor, nearly dying before Mitch comes and rescues her. One account misreported the October 4th decision as Stewart winning her lawsuit, rather than simply winning permission to continue with the case. Birds attack her from all sides as she gazes at a gigantic hole in the ceiling. Stewart claims that the story of the Matrix was based on a manuscript she wrote entitled "The Third Eye" which she allegedly submitted to the Wachowskis in response to an advertisement. She grabs Mitch's flashlight and carefully examines the rooms, then cautiously treads the stairs, opens a door, and goes inside. The case was filed by Stewart on April 24, 2003 [7] (http://www.mi2n.com/press.php3?press_nb=58221). Later on, Melanie wakes up with the intuition that something is terribly wrong. On October 4, 2004, a California court granted Sophia Stewart leave to continue her case against Warner Brothers and the Wachowski Brothers [5] (http://www.slccglobelink.com/news/2004/10/28/Entertainment/mother.Of.The.Matrix.Victorious-785067.shtml) [6] (http://www.slccglobelink.com/news/2004/11/16/News/Corrections-805777.shtml).

The power goes out, and Mitch gets a flashlight from the basement. The Matrix character names: Document shows meanings behind certain names. Finally, a clamor erupts, and Mitch quickly checks and repairs openings while the rest look on, terrified out of their wits. Trivia buffs should also be interested to learn that Carrie-Anne Moss also appeared in a short-lived science fiction television series called Matrix[4] (http://imdb.com/title/tt0106062/) in 1993. In this claustrophobic environment, the four spend hours wondering when the next attack will come. It is also established later in the trilogy that the machines and humans are interdependent for reasons more philosophical than technological. Cathy, Melanie, Mitch, and Lydia hole up in their house, boarding up all the windows, doors, and openings, with the exception of a single fireplace that has a fire going around the clock. The neural-network explanation, however, is presented in the film's novelization and the short story "Goliath", featured on the Matrix website and in the first volume of The Matrix Comics.

Melanie comforts Cathy and Mitch brings Annie inside, as the afternoon descends into dusk. Because they felt that non-technical viewers would have trouble understanding it, the writers abandoned it in favor of the "human power source" explanation. Annie lies dead on her porch, while a terrified Cathy uncontrollably sobs. In fact, this was very close to the original explanation. Melanie sets out in search of Annie and Cathy. This error would then be reflected in the "Zion Historical Archive" of "The Second Renaissance". At last, the screeching of the birds comes to an end. Critical fans have speculated (see Krypto-revisionism) that the machines were actually using the humans' brains as components in a massively parallel neural network computer, and that the characters were simply mistaken about the purpose.

Finally, Mitch ventures into the storm and brings her back into the pub, where a woman accuses her of being cursed. Also, the entropy can't be the machines' invention, as if it did not exist in their world or if the direction of energy flow was sometimes concentrated instead of dissipated, the machines could not exist. A dying man leans against the booth, slowly collapsing and leaving a streak of blood on the glass, which begins to crack as birds endlessly peck and fly at it. On the other hand, Morpheus speaks of physical laws like gravity applying both to the real world and within its simulation, and the scenes we see within the real world are certainly consistent with physical laws as we know them. The local fire department soon arrives to fight the fire and end up fighting the birds instead. Some people have pointed out the possibility that the laws of thermodynamics could work differently in real life than in the Matrix to make it harder for people to suspect they are being used as a power source, or that the machines have technology not yet imaginable by humans, and thus the known laws of science are impossible to apply in this situation (Morpheus mentions that the human power source is "combined with a form of fusion"). From that vantage point, she bears witness to the horrific spectacle as birds rush at her from all angles. The sunlight was not able to penetrate the atmosphere in the movie.

The cries of bystanders are in vain, and a shattering explosion alerts scores of birds, who attack those who rushed out to help the clerk. Melanie runs to assist, but quickly retreats to a phone booth as she is attacked. It would be vastly more effective to burn the organic matter to power a conventional electrical generator or to use geothermal energy or the heat coming from the dissipation of the tidal movements of the oceans and crust or any other not yet imagined source. A trail of gasoline makes its way down the road, to where a man is lighting a cigarette. The chemical energy required to keep a human being alive is vastly greater than the bio-electric energy that could be harvested; human beings, like all living beings, are not energy sources, they are energy consumers. At a pub where a majority of the children have evacuated, Melanie bears witness to the death of a gas clerk across the street after a seagull attacks him. It should be noted that the reason given in the movie for computers enslaving humans makes no sense from a thermodynamic point of view. A flock of crows gather in the playground, and when Melanie evacuates the school, they viciously tear at the children, nearly killing one of them. See also: the philosophy (http://whatisthematrix.warnerbros.com/rl_cmp/new_phil_category.html) section of the official matrix website (http://www.thematrix.com/).

After fleeing the scene in a hysteria, Lydia begs Melanie to keep watch over Cathy during school the next day. The youth wing of the Russian Communist Party has also embraced the Matrix and its sequels with youth wing leader Oleg Bondarenko asserting there is "no difference" between Neo and Lenin as revolutionaries.[3] (http://www.ananova.com/news/story/sm_836226.html). Lydia drives over to the farmer who sold her the defective chicken feed and discovers a gory corpse with his eyes gouged out. [2] (http://www.etext.org/Politics/MIM/movies/review.php?f=long/matrix.txt). From then on, things go from bad to worse as bird attacks increase, both in scope and in violence. Similarly, the Maoist International Movement has adopted the Matrix as one of its favourite films asserting that they "could not have asked for more in a two and a half hour Hollywood movie" and views it as an exercise in dialectics in which a new mode of production is explored, the "battery mode of production". Terrified guests rush into the house as birds scratch, peck, and bite at them ravenously and without motive. (Source: Arlington Star-Telegram, June 10, 2003).

All of a sudden, a bird swoops down and switches Cathy on the ear, and an attack on the party commences. When he ambushes the evil agents later in the movie, they are in an office high-rise complete with impersonal decor. As time goes on, however, the sound of bird calls grows louder, and a shadowy cloud appears over the festivities. Danahy and Rider also argue that rebellion against the machines' domination is an analogy for the modern-day workplace with the evil agents dressed like corporate executives, and Neo escaping from his cubicle to escape them. A peaceful flock of birds make their way across the clear blue sky as Melanie and Mitch walk along the beach. The rebels are trying to get workers to wake up and realize they are being exploited, which is one of Marx’s aims, too.”[1] (http://utamagazine.uta.edu/fall_2003/discoveries/matrix.html). The next day, Cathy hosts a birthday party. “Also, the rebels in the movie liberate Morpheus from an office, and they rescue Neo from his white-collar job.

Opening the door, Melanie discovers a dead crow sprawled on the ground. “Humans in The Matrix must produce electricity to run the machines that enslave them, just as workers in Marx’s analysis must produce surplus value through their work,” Danahay explained. After dinner, Melanie returns to Annie's house and the two chat about their past, when a thud is heard against the front door. Professor Martin Danahay and then PhD candidate David Rieder co-wrote a chapter of the best-selling book The Matrix and Philosophy: Welcome to the Desert of the Real (ISBN 081269502X ) in which they argue that the movie gives a visual image of Marx’s ideas, particularly in the scene where Morpheus tells new recruit Neo that the computers have reduced him to nothing more than a battery. There, his mother, Lydia (Jessica Tandy), argues with someone over the phone that the chicken feed she bought was defective—her chickens wouldn't eat a bite—only to learn that the vendor's own fowl, who had been given a different brand, had the same problem. Some academics have argued that the Matrix series is consistent with a Marxist analysis of society. She then returns to Annie's house, rents out a room for the weekend, and heads over to Mitch's house for dinner. Interpretations of The Matrix often reference Baudrillard's philosophy to demonstrate that the movie is an allegory for contemporary experience in a heavily commercialized, media-driven society, especially of the developed countries.

Cleaning up her wounds, Melanie gives Mitch the alibi that Annie was an old friend of hers and she wanted to pay a visit. In an opening scene, Neo hides an illegal minidisk in a false copy of Jean Baudrillard's Simulacra and Simulation, a work that describes modern life as a hyperreal experience of simulation based upon simulation. On the way back, however, a seagull inexplicably swoops down and claws her. Postmodern thought plays a tangible role in the movie. Then, she travels out by boat and stealthily enters Mitch's house, placing the present in the living room. In a well-known Solipsistic thought experiment, the subject is a brain in a vat of liquid; in the Matrix, Neo is a body in a vat. When she arrives at the town of Bodega Bay, she seeks out Annie Hayworth (Suzanne Pleshette), the local teacher, in order to learn the name of Mitch's sister, Cathy (Veronica Cartwright). The ideas behind The Matrix have been explored in old philosophical texts on epistemology, such as Plato's allegory of the cave and Descartes' Meditations on First Philosophy.

Outside, a flock of pigeons menacingly circle the sky. One of the major issues in the film is the question of the validity of the world around us, i.e., what is reality, or whether what is happening is merely sensory information fed to us, is also raised in other science fiction films including eXistenZ,The Thirteenth Floor, (both of which were released the same year as The Matrix, receiving relatively less attention in box office sales and ratings) Total Recall, and peripherally in the film Abre los ojos (remade as Vanilla Sky). When Mitch reveals after the incident that he knows her as Melanie Daniels, the daughter of a newspaper magnate, and tells her off for being a spoiled prankster, she decides to pay a visit to his house to get back at him and give his sister the lovebirds that he couldn't obtain. There have been several books and websites written about the philosophy of The Matrix. She pretends to be the shopkeeper, showing him various species of birds, until she accidentally lets out a canary. Thus, ultimately, Neo's choice was the same as that of Leonidas: his own life, or the fate of a city. There, she meets Mitch (Taylor), a lawyer that is looking for two lovebirds for his little sister. It could be further argued that had Neo chosen to save his own life, Smith would have gained the access codes he needed from Morpheus and the city of Zion would have fallen.

A young lady (Hedren) visits a bird shop on a Friday afternoon. In the Greek legend, she warns Leonidas that either his city will be left in ruins, or that a Greek king must die, thus Leonidas is left with the choice of his own life or the survival of his city.
. In particular, her warning to Neo that he is faced with a choice between saving his own life, or Morpheus' is very reminiscent of the warning that the Oracle gave to King Leonidas when setting out for the Battle of Thermopylae. It may be noted that in Du Maurier's story, the birds attack Britain instead of California. The character of the Oracle is strongly similar to that of the Oracle of ancient Greek legend. In the film, various kinds of birds attack Bodega Bay, California, a seaside village. The Matrix follows all phases of the Campbellian heroic myth arc with near-literal precision, including even minor details like the circular journey, the crucial battle happening underground, and even the three-headed immortal enemy (the three agents).

This film is notable in that it has no music score per se (other than brief source music); instead a montage of assorted bird calls and sound effects put together by perennial Hitchcock composer Bernard Herrmann provides the "incidental music". In many ways The Matrix is about a kind of reality enforcement, or similarly, hyperreality. The screenplay for The Birds was written by Evan Hunter, better known as crime fiction novelist Ed McBain. Further references to Buddhism/Hinduism include the free will versus fate debate, perception and the concept of Maya, Karma, and various ideas about the nature of existence. (Hitchcock also adapted Du Maurier's novel Rebecca into an acclaimed film) about birds mobbing humans. There are also many references to Hinduism, Buddhism, Taoism, and Christianity, with concepts of Enlightenment/Nirvana, and rebirth. The Birds (1963) is a horror film by Alfred Hitchcock, based on a short story by Daphne Du Maurier. Students of Gnosticism will notice many of its themes touched upon.

Elements of theology and philosophy are heavily present in The Matrix. See Agent Smith for the stylistic geneology of the Agents. The sunglasses used in this movie were custom-made on the set, although replicas are widely available. Agent Smith's sunglasses changed after his transformation in The Matrix Reloaded from the square Agent-style into lenses shaped not unlike the shape of the protein capsule of certain viruses.

Not all characters within the Matrix wore glasses, but as a general rule, the rebels wore sunglasses that had rounded lenses, and adversaries such as Agents wore glasses with corners or angles. This may also reflect the degree of vulnerability of the characters; many characters (Morpheus, Agent Smith) lose their sunglasses during major battles, or discard them: a symbolic disposal of the tough, unemotional image. Viewers would know whether a character or situation was being played out within the Matrix if central characters were wearing their characteristicly dark clothing, complete with sunglasses that would be of little use in the sunless realm of the real world. Sunglasses were worn regardless if it were day or night within the Matrix, adding to the image of detachment of reality in the Matrix. Sunglasses play a significant role in the Matrix cinematic feel.

In the film Total Recall, Arnold Schwarzenegger is offered a red pill to return to reality, in precisely the same way that Neo is. The Wachowski brothers themselves admit that they were greatly inspired by many things they'd read and seen before, and the parallels between films are endless. This site (http://webmirror.kobran.org/matrixgits/page1.html) contains screenshots and more similar scenes from both movies. The title sequence, the scene late in the movie where a character hides behind a column while pieces of it are blown away by bullets, and a chase scene in a fruit market where shots hit watermelons, are practically identical to shots in the aforementioned Ghost in the Shell.

Both a scene near the end of the movie, where Neo's breathing seems to buckle the fabric of reality in the corridor where he is standing, as well as the "psychic children" scene in the Oracle's waiting room are evocative of similar scenes from the 1980s anime classic Akira. There are also other notable influences from Japanese animation. Producer Joel Silver stated in a Matrix making-of documentary that the Wachowski brothers showed him a "Japanimation" and told him they wanted to make a film like that, but live-action. It could also be argued that The Matrix was originally based on or inspired by the concept of Ghost hacking, which is taken from the anime science-fiction film Ghost in the Shell.

The film also borrows plot aspects from Strange Days (entering and experiencing a virtual world as a premise for action sequences) and many other films and novels (our own technology is turned against us, creating a post-apocalyptic Earth in which a small human "resistance" must fight the machines). They integrate Hong Kong style kung fu hand-to-hand combat (under the skilled guidance of Yuen Wo Ping) and wire work, the hyper-active gun fights of directors such as John Woo and Ringo Lam, and classic American action movie tropes, including a rooftop chase. Its action scenes, with a physics-defying style also drawn directly from martial arts films, are notable. The Matrix has many other cinematic influences, ranging from explicit homage to stylistic nuances.

The Matrix reused some of the film sets from Dark City, a movie filmed shortly beforehand that was similar in plot and style. The Matrix is only one of several pieces of fiction that have been influenced by this book. The sequels to The Matrix exhibit further similarities to Dune. Some resemblances also exist to Frank Herbert's seminal novel, Dune, most obviously in the "unwitting messiah" characteristics of the respective protagonists, and the concept of a war between humans and machines with religious overtones (Herbert's Butlerian Jihad).

The film also shares many ideas with Grant Morrison's counter-culture comic book The Invisibles, with which the Wachowski brothers have professed a familiarity. It is possible that this is only a coincidence, and that Zion is used as a generalized metaphor for a mythical city which could be considered to be the last hope for humanity. However, given the obvious influences of Neuromancer on The Matrix, it is likely that the name Zion is used both as a metaphor and as a subtle homage. In The Matrix, Zion is the underground home of the free humans (never seen onscreen in the first movie, although it features prominently in the two sequels). In Neuromancer, Zion is an orbital colony founded by Rastafarians, where the main characters dock before traveling to Freeside, the giant orbital station where the final act of the novel takes place.

One other connection between the two is the use of a location called Zion. From this standpoint, The Matrix can be seen as an antithesis to Gibson's Neuromancer. The Agents of The Matrix by contrast, are AIs who curtail human development. Gibson shows humans working alongside the AI Wintermute; their eventual triumph is presented as a victory for the "good guys". Again in contrast, the human-AI collaboration in The Matrix—Cypher defecting to the agents—appears to undermine all that good and right stand for. For example, Gibson's human Turing Police are tasked to limit the growth of artificial intelligences.

Several illustrative differences between the two works also exist. Some of the relevant conventions related to the genre might include the tough-guy hacker/cracker hero, his optional female sidekick, the more-or-less malevolent artificial intelligences. In both stories a computer hacker is recruited to perform a particularly difficult task. This is not necessarily surprising, since both The Matrix and Neuromancer are roughly in the same cyberpunk genre.

The plot of The Matrix bears some resemblance to the basic plot of the book Neuromancer. Forster. M. The idea of a world controlled by machines and all of humanity living underground goes back to the 1909 short story The Machine Stops by E.

Dick, not only dealing with issues of Gnosticism and prophetic visions but also the war against the machines in a post-apocalyptic world. Many have commented that The Matrix was inspired by the work of Philip K. The concept of artificial intelligence overthrowing or enslaving mankind had previously been touched on by hundreds of science fiction stories. Galouye with Simulacron Three in 1964.

The first writer about a virtual reality, populated with unsuspecting victims, was Daniel F. However the concept and name apparently originated even earlier in the 1976 serial The Deadly Assassin on the British science-fiction television series Doctor Who, which featured a virtual reality known as the Matrix. Gibson popularized the concept of a world-wide computer network with a virtual reality interface, which was named "the matrix" in his Sprawl Trilogy. The story makes numerous references to historical and literary myths, including Alice's Adventures in Wonderland, Judeo-Christian imagery about Messianism, Buddhism, and the novels of William Gibson, especially Neuromancer.

There is also an improved fluidity through the use of interpolation and digital compositing. The creators of The Matrix have expanded upon Macmillan’s concept of the spatial exploration of “frozen” time by providing temporal motion, so that in bullet time a scene isn’t totally frozen but is rendered in slow motion. In his online resume at timeslicefilms.com (http://www.timeslicefilms.com), freelance photographer Tim MacMillan claims to have pioneered by the mid-eighties “a way of freezing apparent time in a motion-picture tracking shot by means of multiple apertures registered to the frames of motion-picture film.” The work of Harold Edgerton, who Macmillan pays homage to in one exhibition, could be considered a yet earlier precedent. Watching such a “time slice” movie is akin to the real-life experience of walking around a statue to see how it looks at different angles.

When the sequence of shots is viewed as a movie, the viewer sees what is in effect two-dimensional “slices” of a three-dimensional moment. In time slice photography, several cameras are placed around an object and fired in rapid sequence. Bullet time is effectively a technically expanded version of an old art photography technique known as time slice photography. While many fans believe the effect was invented for The Matrix, there are artistic precedents for bullet time.

The film is known for popularizing the use of special effects such as the one now known as "bullet-time", which allows the viewer to explore a moment by the use of slow motion and a camera which appears to orbit around the scene at normal speed. Furthermore, the film won these awards in the year that Star Wars: The Phantom Menace was released, making it the first film to win the special effects Oscars when competing with an entry in the Star Wars series. The Matrix received Oscars for film editing, sound effects editing, visual effects, and sound. He returns to the real world but promises the Agents that he will be leading the fight against them.

Empowered by this newfound notion of disbelief, Neo effortlessly defeats Agent Smith, thereby "deleting" him from the Matrix. Neo, who is seemingly awakened by the power of her love, realizes the fabricated nature of the Matrix, and it is only then that he is able to transcend the world around him. However, in the real world, Trinity refuses to accept Neo's death, and whispers into his ear that she now believes what the prophecy has foretold. Neo slumps over, apparently dead.

Upon reaching the second location of a hard line (a hijacked phoneline which carries the escape sequence necessary for exit from the Matrix), Neo is shot in the chest by Agent Smith. He then flees as a new Agent Smith arrives, having possessed a new person. Subsequently, Neo engages in a duel with the program, destroying the agent's current body. After Morpheus and Trinity exit the Matrix, Agent Smith, the leader of the Agents, destroys the phone booth from which the escape signal was being broadcasted.

Neo decides to save Morpheus in spite of the prophecy and together with Trinity he returns to the Matrix and executes a successful rescue of their leader. They want to get the access codes to Zion's Mainframe. Shortly afterwards, Morpheus, betrayed by Cypher, who prefers living in ignorance of the Matrix, is captured by the Agents, who attempt to gain from him information regarding the defences of Zion, the humans' city. He shall choose between his and Morpheus' life.

Neo meets with the Oracle, who, as in the traditions of Oracles everywhere, presents him with an ambiguously-worded prediction of his future relying on his future choices. Their most powerful skill is their ability to "jump" between bodies, enabling them to take over any person who has not been disconnected from the Matrix. Inside the Matrix, the humans are pursued by a group of self-aware programs, called Agents, having incredible martial arts skills and capabilites beyond those of the humans. Neo also forms a close personal relationship with a female member of the group, Trinity.

Neo, along with the other members of Morpheus' group, is initially skeptical, but Morpheus teaches him to bend or break the rules of the Matrix - subvert the operation of the normal laws of physics. Morpheus has rescued Neo from the Matrix because he believes that Neo is "The One," who has been prophesised by the Oracle to "hail the destruction of the Matrix, end the war, bring freedom to our people." Morpheus believes that Neo has the power to free humankind from its enslavement through complete mastery over the Matrix. Morpheus, with the other free humans, works at "unplugging" humans from the Matrix and recruiting them. It turns out that the world which Neo has inhabited since birth, the Matrix, is an illusory simulated reality construct of the world of 1999, developed by the machines to keep the human population docile whilst they are connected to generators and their energy is harvested.

The machines responded by making use of human beings themselves as an energy source. In order to deny the machines their power source (solar energy), the humans "scorched the sky". Morpheus, a practitioner of critical pedagogy, explains to Neo that the Matrix is a false reality and invites him to enter the "real world." There Neo discovers that the year is not 1999, but closer to 2199 (although not given exactly) and that humanity is fighting a war against intelligent machines. Anderson (Keanu Reeves) leads a secret life as a hacker under the alias "Neo". A series of unusual events brings him into contact with a group of people led by Morpheus (Lawrence Fishburne).

A computer software programmer named Thomas A. Some of these comics are also available in two printed volumes, although the free versions will remain on the site. The movie's official website provides free comics, set in the world of The Matrix. All of the ideas were written by the Wachowski brothers, although five of the nine animated shorts count among their authors noted figures from the world of Japanese animation (anime).

It is important to note that although the Wachowski brothers have stated to have always intended to make a trilogy, it was only after the first installment's success that they were able to make the second and third films, although it was a number of years and several iterations of wholly different scripts before the final movies were approved. After these two final installments were created, an online game entitled The Matrix Online was developed and launched, further expanding the setting and plot of the saga. The movie's relatively unexpected success and cult following led to the next two films (The Matrix Reloaded and The Matrix Revolutions), a video game (Enter the Matrix), and a collection of nine animated shorts (The Animatrix). The Matrix earned $171 million in the USA and $456 million worldwide.

The Matrix was filmed in Sydney. The film is a co-production of Warner Bros Studios and Australian Village Roadshow Pictures. It contains numerous references to philosophical and religious ideas, and to the hacker subculture, as well as homages to the style of Japanese animation and cyberpunk. The film describes a world in which the titular Matrix is an artificial reality created by sentient machines in order to pacify and subdue the human population.

A renowned Generation Y classic, it has developed a strong following as a cult film. It stars Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, and Hugo Weaving. The Matrix is a film first released in the USA on March 31, 1999, written and directed by the Wachowski brothers (Andy and Larry). Robert Taylor II as Agent Jones.

Anthony Ray Parker as Dozer. Joe Pantoliano as Cypher. Belinda McClory as Switch. Paul Goddard as Agent Brown.

Gloria Foster as the Oracle. Matt Doran as Mouse. Marcus Chong as Tank. Julian Arahanga as Apoc.

Hugo Weaving as Agent Smith. Carrie-Anne Moss as Trinity. Laurence Fishburne as Morpheus. Keanu Reeves as Neo.