Latest news with #TheMatrixReloaded
Yahoo
26-02-2025
- Entertainment
- Yahoo
Trinity's Bike From 'The Matrix Reloaded' Is Why I Own A Ducati
When I went to the theater in 2003 to watch the sequel to my then-favorite movie, I was still an impressionable teen without a full-formed brain in my skull. The General Motors/Ducati product placement chase scene in "The Matrix Reloaded" remains my favorite action set piece more than two decades later because it's indicative of the efforts old Hollywood would go to in order to put a gorgeous work of art on the silver screen. Today this expensive masterpiece of practical effects and live action would be turned into a cavalcade of green screen CGI slop in an ugly Marvel Studios film or straight-to-Netflix action "blockbuster." Even with a pretty forgettable plot and difficult script, "Reloaded" is far more memorable because of scenes like this than "The Grey Man" or the new "Captain America" dreck. It seems incomprehensible today that the studio greenlit production to build a full 1.5 miles of fake highway to film something of this magnitude. Here's a reminder of just how great this scene is. Bask in its glory. Wasn't that just the most awesome thing you've ever seen? The art and science–era Cadillacs, the baddies in a black Escalade, the Keymaster just having a key to the bike in his pocket, it all just blends so perfectly together to form maybe the greatest chase scene ever. Read more: There's A Relic Runway From America's Failed Supersonic Future Hiding In The Everglades Growing up on a dirt road in rural Michigan, I'd hardly even heard the name Ducati by the time I saw this movie. I knew it existed in the same vague way I knew of the existence of Italy, but had never shaken hands with her. It just wasn't something I thought about. But once the leather-clad Carrie-Anne Moss climbed aboard a dark green 996 Testastretta something short circuited in my brain and the D-word instantly became synonymous with two-wheeled performance. I knew I had to have one. Every scene that happens inside the so-called Matrix is tinged with a green overlay as a way to confirm to the viewer that you're in the world of code and computer language, which explains why the typically bright red Ducati supersport is painted in Matrix green, and I'll admit that a lot of my affection was for this beautiful shade on the sleek fairings. This great scene in a not-so-great film brought Ducati forward in my brain. It emerged from the ethereal as a fully formed piece of machinery in front of me while I was sat in that theater with a bucket of popcorn on my lap. Like Neo waking up from being plugged in to a new program: "Whoa, I love Ducati." Considering the brand had nearly 80 years of legacy before that movie, it may seem odd to some of the older folks in our readership that this was my awakening. Be that as it may, my brain will always connect the brand with zipping between Oldsmobile Intrigues and Chevrolet Malibus on this GM-packed stretch of faux highway. It took more than twenty years from that moment for me to add something from the Bologna-based manufacturer. I'm hardly a manufacturer snob, as I've floated between a variety of bikes from Japan, Europe, and the U.S. and enjoyed them all, though prior to last fall I'd never owned a Ducati, though not for lack of trying. I've been on the lookout for the perfect Ducati to throw my leg over for two decades, and finally found it. I'm hardly the kind of guy to go buy a rakish 998 Matrix Edition these days as I'm nearing 40 and enjoy being able to use my wrists after a ride, so I settled on the slightly more subtle 1999 Ducati Monster 900 instead. I may not have the beautiful green paint, or the sharp origami-like lines of the 998, and the two bikes may only be related by branding, but I'll ride this one a lot more often. My Harleys and BMWs and Hondas may come and go, but because of this movie I'll be a Ducati fan for life. Read the original article on Jalopnik.
Express Tribune
19-02-2025
- Entertainment
- Express Tribune
Painting timeless portraits
When illustrating history with every indelible mark of the pen, an artist must prepare to live life out of a suitcase - though no one told Usman Riaz this when he joined the Oscar race. Riding high from the ever-expanding success of Pakistan's first hand-drawn 2D animated film, Usman has had much to learn from his experiences as an independent filmmaker and the trailblazing creator of The Glassworker. "From the beginning, with all the journalists and everyone at the Academy, I realised that I'm not even the underdog in the streets. I'm the flea that lives on the underdog. Because this is the first movie I've ever made," Usman tells me. "And even though we were competing with a lot of other independent animated films, these were a lot of people's second and third movies that were in contention. So, it was a huge honour." The Glassworker was selected as Pakistan's submission for the International Feature Film category at the Academy Awards in September 2024. Since there were only about thirty-one films in the animation category, Usman feels that it is stupefying to be able to make that far, with his film only a step away from being nominated. "Obviously, it would've been a miracle if we got nominated. But that's the nature of miracles - they are inherently miraculous. I never discounted that," he says. "To just be in the conversation with some of the best movies to come out of 2024, that was very special. Am I disappointed? I would be lying if I said I was. I always tempered my expectations because it's been a very difficult journey. So, I'm very proud, grateful, and excited for the future." A hectic process But glamour seems to be a discriminating force, as Usman tells me that independent filmmakers must keep their pockets ready for the festival season, since hurdles hinder their journey at every turn. "We're so used to seeing a big studio tour for film promotions. Independent movies do not have that. Everything comes from either your own pocket or the festival pays for you, and it's just a lot of travelling," he says. But truth be told, Usman has no qualms about that part. Exhaustion aside, he thrives in the spontaneity of promoting his film. "I think, on average, I was at an airport every four days for almost three months. It kind of tapered down in the last few months, but it's still happening. Like I was just in for the Napa Valley Asian American Film Festival that went incredibly," he says. The best part? He has no regrets. "There's this wonderful line from The Matrix Reloaded that Morpheus says to Neo. He says, 'Everything that happened couldn't have happened any other way.' Neo says, 'How?' He answers, 'Because we're still here.' So, I think like that," Usman explains. A passion project As with any creator pursuing a lifelong dream, Usman's passion kept him tied to the project. "In behind-the-scenes documentaries, you don't really hear about the struggle it takes to make a movie. It requires a lot of grit, a lot of obsession almost. And this being a ten-year journey, I had to sustain that obsession for ten years through all the highs and lows," he shares. And the longer the journey, the sweeter seems to be the fruit. "It was the day that I said, 'You can finally watch it.' The cinema was packed and everyone was excited to see the film. That was the moment when I teared up a lot," he reveals. Likening his journey to that of Frodo from The Lord of the Rings, he adds, "That's how I feel. It's just been this incredible, gruelling adventure. Once you come back, you're just grappling with all of that." Romanticising the adventure was what kept his gears turning, as Usman also compared himself to Ash from Pokémon. Unlike Ash, however, Usman feels he's far from being the very best, though he does agree that making history in Pakistan makes him a champion in his own right. Why animation? Usman has been an admirer of the arts since a young age, having invested time and energy into both fine arts and music. Dropping the initial thought of making The Glassworker a live action film, Usman combined his crafts and constructed a piece that echoes the intricacies of his personality. The artist deems hand-drawn animation a timeless medium, citing old Disney films and Hayao Miyazaki's works as prominent examples. "It was always a dream to combine everything I love into one product, and that was a hand-drawn animated movie, which encompasses all of the things I love about storyboarding, animation, music and film," he says. On personal stories Usman's devotion to his crafts reflects in his characters, Vincent and Alliz, both of whom have an affinity for the arts. Although the two characters debate over what makes a true artist, he believes that those ideas are the fragments that make up his whole. He acknowledges the beauty in interpreting and replicating art. However, what truly resonates with him is his own work. "I would give up every instrument that I can play just to be able to play the violin at the level that I can hear in my mind," he admits, pondering the what-ifs of his musical journey. "Alliz plays the violin because that's the greatest instrument for me, and I'd love to be able to play it the way she does." Exploring a part of oneself is the gateway to creating a story clad with character depth. "That's the thing most people are afraid of doing. Most of the time, they want to write for the masses. But the stories that resonate the most with people are the ones that are inherently personal because then people can find things they can relate to more," Usman believes. Off the top of his head, he cites Saim Sadiq's Joyland and Zarrar Khan's In Flames as two stories that offer complexity that makes the audiences think. "There has to be a blend of personal touches and public appeal in creating a good story," he says. What comes next? While much of Usman's upcoming endeavours remain under wraps, he has an interesting future lined up with both the Gotham Group and Mano Animation Studios. After serving a tale infused with magical intrigue, he wishes to use his enchanting medium to explore South Asian folklore more. "I'm not trying to be mysterious. I genuinely don't know what's ahead of me, but I'm excited to find out. And I hope I don't have to wait another ten years for that," he says. As for whether audiences should expect something from Mano Animation Studios in the near future, Usman offers a simple "Insha Allah."
USA Today
15-02-2025
- Sport
- USA Today
Looking ahead to free agency by recapping 10 key Lions who entered 2024 with medical concerns
With the Super Bowl and NFL season now over, the next big phase for the Lions is free agency. The legal tampering period of 2025 free agency starts on March 10. (The illegal tampering period has started already.) The Lions will need to make some tough decisions with many of their free agents and their health status will be a critical component. Here is the list of the 2024 Lions unrestricted free agents who did not finish the season due to injury: Carlton Davis – Jaw fracture, December 15 Kevin Zeitler – Right hamstring, January 5 Marcus Davenport – Left elbow, September 22 Derrick Barnes – Right MCL/PCL with surgery, September 22 John Cominsky – MCL with surgery, July 30 Ifeatu Melifonwu – Right hamstring strain, January 18 Kyle Peko – Left pec rupture, October 13 Pat O'Connor – Calf, January 5 Khalil Dorsey – Right tib/fib fracture, December 15 Emmanuel Moseley – Illness, January A recent article by Jeff Risdon projects many of these injured players to re-sign with the Lions. Injuries of any kind can carry residual effects. For many injuries, there is no such thing as being 'fully recovered'. Thus, the nature of the injury is a major factor in the dollars and years a team will offer or if there is an offer at all. One injury may beget other injuries which is something to consider as well. Studying history may provide lessons that affect the team's approach to the 2025 injured free agents. Those who deny history are doomed to repeat it, but denial is human nature. 'Denial is the most predictable of all human responses' – The Architect in The Matrix Reloaded Entering the 2024 season, I compiled a list of 10 key Lions who were dealing with offseason medical issues. Here is the link to that article. Let's look back and see how these players fared and if any lessons can be gleaned entering the 2025 free agency period. (Credit for snap count data.)
