The references to Davis' material in
The Matrix
Resurrections remains the highlight, albeit a diluted one, and all
of this incorporation seems to point back to only the first score. The
influences exist in six of the major cues, "Opening - The Matrix
Resurrections" saturated with the heaviest dose of them as previously
mentioned. The brass main theme of symmetrical major-minor chords for
the franchise is followed by other straight emulations throughout the
rest of the cue. A brief statement of that main brass motif pops up at
the ends of "The Dojo" and "Factory Fight," the latter also offering
string rhythms and brass figures from Davis' era. Hints of the main
motif lace the latter half of "Simulatte Brawl" as well. By "Swarm,"
Klimek and Tykwer shift to Davis' monumental discovery motif of tonal
magnificence, heard at 1:21 into that cue and at 2:37 into "My Dream
Ended Here." The accelerating rhythm over massive tonal chords in this
motif is nice to hear reprised. Both of those cues also reference Davis'
use of rising brass figures for action as well. More generally, the
dissonant layers of trumpets for sentinels periodically returns, as do
wildly swirling strings for the reality-altering aspects of chasing or
fighting. What you do not hear in
The Matrix Resurrections is
Davis' love theme for Neo and Trinity even though it was very careful
nurtured and developed over all three previous films. This theme is a
lastingly gorgeous identity, one left unfinished until the scene of
Trinity's death and begging for additional treatment. The absence of
this theme here is totally inexcusable, for their relationship, although
seen through a different lens, definitely deserves the resurrection of
their theme for the attraction they still feel for each other. In fact,
when the characters struggle to determine why they sense a connection
early in the narrative, the theme must be there to help guide them on
that journey. For some, Klimek and Tykwer's score will be disqualified
entirely by this strategic error alone. The new themes they instead
supply for Neo and Trinity, among other concepts, are weakly constructed
and poorly stated. There are glimmers of hope, as in the replacement Neo
and Trinity theme also being based on tentative three-note phrases like
Davis' idea, but that's simply not enough to carry the meaning
forward.
A new main theme by Klimek and Tykwer for
The Matrix
Resurrections has some semblances of a heroic identity, but despite
having that three-note tendency in the major key by its end, it's not
closely enough tied to the previous character theme to be considered an
extension. The idea takes a long time to find itself, which is fine
given the narrative, mostly stewing during the entirety of "Meeting
Trinity." Fragments of the motif on piano at 2:24 into "It's in My Mind"
yield to chaos by the cue's end. Additional piano pieces of the theme
are conveyed at 0:39 into "Set and Setting," continuing to hints late in
"The Dojo." A variant is suggested in the choral fantasy at the end of
"Enter IO," and slight fragments on violins in the middle of "Enter IO"
become more resolute by the end of the cue. The motif gains traction in
the crescendo to end "Escape" but dissolves to fragments over early
dissonance in "Factory Fight." Continued meanderings persist early in
"Bullet Time" and finally achieve major choral appeal by 2:26 into
"Simulatte Brawl." Interestingly, Klimek and Tykwer's "Neo and Trinity
Theme" remix does not reference this identity but instead a positive
twist on their own theme for the Matrix and Agent Smith. This quasi-love
theme uses the same descending notes as the new Matrix theme and has
some yearning qualities, but the theme is simply too inert due to its
slow pacing. The idea debuts rather late, at 0:40 into "I Can't Be Her,"
repeating simplistically until a big choral crescendo. It is reprised in
much the same form early in "My Dream Ended Here," strings and light
choir carrying it in sadness. The idea repeats throughout cue and simply
gets louder without any development, a true Zimmer technique. The melody
extends to only the latter half of the "Neo and Trinity Theme" remix.
These two themes don't achieve any discernable purpose because of their
disturbing lack of development. Like the action rhythms, these melodies
often end the score in much the same format as they had earlier, with
only volume and intensity increased to drive home the point of their
existence. On the other hand, their placements do offer more tonally
palatable moments like the end of "Simulatte Brawl," where major key
choral accessibility is supplied like a piece of candy. The absence of
challenging layers to these moments again separates this music from that
of Davis.
A new theme of menace for the Matrix pounds away in
true Zimmer form throughout
The Matrix Resurrections, its
descending four note phrase inelegantly stomping into the picture. It's
first heard in slightly electronic, slow progressions at 4:41 into
"Opening - The Matrix Resurrections," but its main introduction comes at
1:23 into "Set and Setting." It recurs under slashing action rhythms at
2:59 into "Factory Fight," on low strings at 2:50 into "Bullet Time,"
and in fragments near the start of "Recruiting," after which it
struggles to switch to its positive alter ego over swirling strings.
With the phrasing shifting to ascending figures in the latter half of
that cue, the character theme above is born. Low brass belch out the
idea with repeated notes for emphasis at 0:55 into "Infiltration." A
common action rhythm exists throughout the score as well, heard in the
second half of "Two and the Same," the middle of "I Fly or I Fall," in
light plucking to open "Inside IO," late in "Escape," and during the
second half of "Simulatte Brawl." This technique is separate from the
straight Zimmer "horn of doom" foghorn effects; these passages infect
the totally generic "It's in My Mind," and the duo of "Into the Train"
and "Exit the Pod" play like an oddball combination of 90% Zimmer and
10% Davis styling. The latter cue's pounding bass notes with choir,
along with the low brass phrases equally stomping away in "Sky Scrape"
are really poorly handled. The foghorn blast at 1:40 into "Enter IO" is
conceived as a stinger, and it's so totally unneeded that it becomes
funny. Fans of modern action not only hear Zimmer in these cues, but
there's a touch of John Powell's tired ostinatos for the Jason Bourne
franchise in "I like Tests," too. Overall, Klimek and Tykwer don't
completely flunk this assignment, but they are clearly no match for
Davis' intelligence. On album, over 77 minutes of music is joined by
more than an hour of remixes of various score tracks that will have
little appeal to film music collectors. In fact, the source inspiration
for these tracks is so generic that one can't tell the difference
between the techno remixes in many cases. The incorporation of some of
Davis' material here is appreciated, but its handling is sloppy, and the
lack of Davis' love theme for Neo and Trinity in this score remains a
massive point of frustration. More importantly, though, this music
reveals once again the negative impacts of Zimmer's influence on
conceptions of how film scores should sound. This franchise should not
have to suffer music of the lowest common denominator.
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