When news hit that Warner Bros. is in the early stages of rebooting The Matrix, the world groaned as one. Is no film safe? Not if it’s over 10 years old, it appears.
A reboot of what’s almost universally regarded as a terrific, trend-setting film is a genuinely terrible idea, especially since the Wachowskis aren’t even involved. But the universe of the Matrix can certainly be mined for more stories. The comics and The Animatrix prove that there are dozens of tales to be told about the nature of reality, of the struggle of man versus machine, of what makes humanity human. While we probably would have been much better off with The Animatrix 2 instead, Warner Bros. surely wants another franchise that they alone control, similar to what Star Wars has done. Thus, a reboot.
There might not be any way to dodge what we have coming at us, but there’s a way to mitigate the damage. Here are 12 directors we think could actually give us an interesting take on the film. Here are filmmakers that may actually do the impossible and make us excited about a new Matrix movie.
Let’s be honest – with Get Out’s box office, Peele can do absolutely anything he wants for his next film and we’d be there day one. He could announce Follow That Bird 2: Twitcher and we’d be all over it. So why waste it on a reboot? One reason is that he’s clearly a sci-fi dork, if the number of Key and Peele sketches set in a sci-fi setting is any indication. And who wouldn’t be excited by the idea of him discussing racial identity in The Matrix, a series that still ranks as one of the most ethnically diverse ever created? He’d be a choice that could force people to take notice.
From Blue Ruin to the blue pill? Saulnier may be known as the creator of unflinchingly brutal revenge thrillers, but take a closer look at his films like Green Room and you’ll find that they delve far deeper into humanity than you’d assume, what with all the gore flowing so freely. Saulnier seems to really want to know what makes people tick and what makes them keep moving on even in spite of terrible loss. It’s only a matter of time before he makes a big film that explodes him onto the stage of the world-at-large, so Warner Bros would be smart to try and grab him before he does.
Kim doesn’t seem to like to linger in one genre, although he generally prefers them to be of the dark variety. He’s made one of the scariest ghost stories of all time in A Tale of Two Sisters, the hilarious spaghetti western homage The Good, The Bad, and The Weird, and the truly twisted I Saw The Devil, but it’s his segment from Doomsday Book (“The Heavenly Creature”) that shows that the story of Neo would be a story right up his alley. “The Heavenly Creature” is about a malfunctioning robot that attends a Buddhist temple to attain enlightenment, sort of a spiritual I, Robot, and delves deep into the concept of what life really is. Warner Bros. has already worked with him with The Age of Shadows, their first ever Korean-language film, so they could easily tap him for another English-langue one.
The inevitable headlines comparing her work on The Matrix with her other anime-inspired martial arts film (the infamous bomb Aeon Flux) might keep her out of any serious consideration, but one need only look at The Invitation to realize that Kusama can bring a film to a satisfying conclusion like few others. It’s got that tense otherworldly feel where we know something’s not quite right and are just waiting for the veil to lift, and when it finally does, it absolutely does not disappoint. We know Kusuma knows brutal horror better than most anyone in the industry today, so why not give her a shot at sci-fi?
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