Today, I’m breaking a solemn rule amongst reviewers: don’t write a review until you’ve finished the thing. The thing, of course, being a book. Or a movie. Or The Matrix Reloaded.
In this case though, the rule-breaking has a particular point:
If a story doesn’t engage with its audience by at least the quarter mark, it does not matter how epic or excellent the rest of the story is. It will be nearly impossible for the story to recapture its audience and provide a resonate conclusion.
I gave The Matrix Reloaded the benefit of the doubt and watched through the halfway point. Then, the unthinkable.
I turned it off.
Here’s why:
There’s No Subtext.
Let the audience think. Let us stare into the character’s eyes and guess what it is going in in their soul. Let us become participants in the emotional journey. Sadly, The Matrix Reloaded (at least in the first half) is littered with scenes that plead to be given the gift of subtext, but instead are offered a heaping portion of on-the-nose dialogue.
For example, the Oracle asks Neo, “Aren’t you going to ask the obvious question?”
UGH.
Sure, there is a time and place for this type of line, but NOT in a movie that is already bereft of all subtext.
Don’t get me wrong – there certainly is mystery hidden amongst the characters, but it’s not woven together in a way that makes you want to learn more, since so much of the dialogue is blatant.
The Conversation Scenes are One-Sided
Tip #1 for Writing A Good Scene: Include copious amounts of conflict and tension.
Check!
Tip #2 for Writing A Good Scene: Save your monologuing for later.
Ummmm…..
I know I’m exaggerating a wee bit here. But just a wee.
For example, when Neo, Morpheus, and Trinity visit Merovingian (I had to look up his name), nearly the entire conversation is comprised of his musings. Same with the oracle scene. This type of conversation simply does not engage audiences. Give-and-take must be present. Conversations can be brilliant ways to show action through dialogue, as characters verbally dance together, one taking the lead, then the next, as they each seek to achieve one’s goals through the spoken word. Just because one character is being dramatic does not mean that the scene as a whole contributes to the overarching dramatic tension.
No one wants to watch a dance scene where one partner sits, watches their partner dance, then walks way when the dance is complete.
Yes, there is a time for monologuing, but this must be done judiciously.
The Same Story Beats Are Repeated
Morpheus has the same conversation with Zion’s fleet commander over-and-over again. With the same outcome.
Can you use the same conflict in multiple scenes?
Most definitely!
Can these scenes play at the same way, with the same outcome?
Nope, nope, nope, nope, nope, nope, nope, nope.
Friends, this is one of THE BEST ways to thrust epic boredom into the movie theater.
This can easily be resolved by:
- Having your characters learn something new.
- Creating new obstacles within the scene.
- Making the conflict personal.
- Raising the stakes.
- Altering the outcome.
If your story calls for multiple scenes regarding the same conflict, try adding just one of these aspects every time you re-introduce the conflict. Just one. I’m looking at you, Matrix Reloaded.
Neo Keeps Getting Fed the Same Information…
…and doesn’t do anything with it.
If I watched the rest of the movie, I’d probably see that Neo takes all that he’s learned and brilliantly applies it to the satisfaction of the rest of the story. But there is little incentive to view that far when the mid-point presents Neo as an action-less character.
Quick clarifying point – action does not equal fight scenes.
How is Neo driving the story forward? What is he doing with the (mildly repetitive) information he’s accumulating? How is he applying it? How is he trying, failing, trying again?
We cannot simply watch a character remain static or simply reactionary for half the film, then expect believable life-changing results to his character arc. If anything, Morpheus is the one driving the story forward, rather than our marketed protagonist.
A few take-aways for fellow writers!
- Give your scenes subtext. Even if its just interspersed here and there.
- Shake your scenes up. If your story calls for a certain conflict to be repeated, ask yourself these questions:
- How can my characters learn something new?
- What new obstacles do they discover?
- Do they learn anything personal?
- How are the stakes raised?
- Only use monolouging when absolutely necessary (meaning, when there is no better option).
- Make your protagonist active!
SHARE YOUR THOUGHTS!
Is the second half of The Matrix Reloaded any better from a storytelling perspective? Why or why not?
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