“The Matrix Resurrections,” like Narcissus, glories in the empty spectacle of its own wonder, Anthony Lane writes. Its director, Lana Wachowski, scarcely prevents the film from collapsing into total incoherence.
Near the beginning of Joel Coen’s latest film, “The Tragedy of Macbeth,” we see a witch drawing in the ground with a stick. Spellbinding stuff, to be sure, though the gesture is lifted from the start of another “Macbeth,” which appeared half a century ago. That movie was adapted by Roman Polanski and Kenneth Tynan from a play by a guy named Shakespeare, who pinched a fair dose of his foul tale from a guy named Holinshed, who presumably got it straight from the witch’s mouth.
brings a languorous guile to Guillermo del Toro’s “Nightmare Alley,” as a shrink so void of moral nicety that she feeds details of her own patients to a hustling mind reader. I doubt if she sleepwalks with guilt.Photograph by Matt Kennedy / Courtesy Sony Pictures The second reason is cannier and more cynical. The film, which is aimed exclusively at its existing fan base and would be grimly incomprehensible to anyone from outside the fold, is rigged to produce occasional spikes of gratification in the audience.
Most alarming of all is the prospect that movie studios besides Marvel might be inspired by the portal gimmick to turn their own franchises into regeneration engines for the retired. Until now, new actors shouldering old roles have contented themselves with queasy in-jokes: “This never happened to the other fellow,” George Lazenby says in the opening scene of “On Her Majesty’s Secret Service” , as a nod to the departure of Sean Connery.
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