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The Matrix vs. Inception

The Matrix (1999) vs. Inception (2010)  

37 members have voted

  1. 1. Which film do you prefer?

    • The Matrix (directed by the Wachowskis)
    • Inception (directed by Christopher Nolan)
  2. 2. Which score do you prefer?

    • The Matrix (composed by Don Davis)
    • Inception (composed by Hans Zimmer)


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I said matrix because i guess I like it more. I think Inception is just an "IVE MADE A MONSTEROUS HIT SO MY EGO ALLOWS ME THE ABILITY TO MAKE聽A REALLY BAD MOVIE THAT NO ONE CAN DARE CRITICIZE!"聽 Aka Filmaker gone amok.

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Zimmer鈥檚 very good Inception score would stand above many scores for me, but not Davis鈥 excellent Matrix score(s).

If you include the Matrix鈥檚聽rock/n眉-metal聽songs in the equation, Inception is better overall.

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I watched Inception yesterday聽for the first time in years, and holy crap is it ridiculous. It's just too laughable to take seriously. I really took it seriously years ago, but now it seems kind of tacky and funny. It''s wonderfully made. A聽good set of ideas and full of good performances and cinematography. Nice score from Zimmer too, even if it is ripping off some of Arnold's Bond stuff. But that's understandable considering Inception's Bond-like settings and action, like the on-foot chases, car chases and the ski-chases.聽

But I found myself laughing yesterday while listening to the dialogue and watching the story get further 'inventive' with its excuses and conveniences to explain why characters can't do something easily. It gets more and more like the characters (and Nolan) is just making things up to keep the story going. "Unconstructed dream space." " The dreamers projections are hostile." Etc. It's like a spoof.

It seems like a sci-fi channel B movie with a big hollywood budget.聽

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Even though I'm not the biggest fan of the Matrix, the answer couldn't be more simple, to me. The Matrix actually has some dramatic elements.

Inception's just a (good) heist movie.

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THE MATRIX for film, INCEPTION for score. But -- as with most of these vs. topics -- both are fine films and scores.

I prefer the Juno Reactor/Don Davis stuff from the sequels more than the 'pure' Davis stuff for the first film.

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4 hours ago, leeallen01 said:

I watched Inception yesterday聽for the first time in years, and holy crap is it ridiculous. It's just too laughable to take seriously. I really took it seriously years ago, but now it seems kind of tacky and funny. It''s wonderfully made. A聽good set of ideas and full of good performances and cinematography. Nice score from Zimmer too, even if it is ripping off some of Arnold's Bond stuff. But that's understandable considering Inception's Bond-like settings and action, like the on-foot chases, car chases and the ski-chases.聽

But I found myself laughing yesterday while listening to the dialogue and watching the story get further 'inventive' with its excuses and conveniences to explain why characters can't do something easily. It gets more and more like the characters (and Nolan) is just making things up to keep the story going. "Unconstructed dream space." " The dreamers projections are hostile." Etc. It's like a spoof.

It seems like a sci-fi channel B movie with a big hollywood budget.聽

I actually think this is entirely intentional. I don't really know where the "mindbending masterpiece" label came from. It was clearly bit more tongue-in-cheek than all the other Nolan films. I never treated it as anything but a fun, if somewhat ridiculous, romp. And it is also not a favourite of mine.

Karol

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Inception for the movie. Matrix has aged terribly.聽

I went with Inception for the score too because I can barely remember anything from the Matrix although I know it鈥檚 held in high regard.

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Yeah, production design-wise it's very much a product of its time and countless parodies and homages devalued its actual breakthroughs, but thankfully it doesn't take itself too聽seriously, that happened with 2's ending and pretty much all of 3.

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It holds up very well indeed. I think it does take itself very seriously, with some great, lofty ideas,聽but that's a major PLUS for me. I don't like genre films like this that "don't take themselves seriously".

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What I meant by not that serious is that while Inception for example tries taking a somewhat "realistic" approach, the Matrix has a quirky world with underground resistance in all black leather, programs inside a simulation solving conflict by means of kung fu, and a person coming back to life from true love's kiss. It has fun with itself.

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I don't necessarily see it as 'fun', I see it as creating a universe; a backdrop with its own set of rules that the lofty, existential ideas can be attached to. All the references are organically connected, it's not really some self-deprecating 'let's have a fun with things'-type of film, IMO.

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1 hour ago, crocodile said:

The score (along with its two sequels) definitely marks the highpoint of big blockbuster scoring of the past few decades. I'd go as far and say it's right up there with Potter and Middle-earth music. Perhaps not in terms of popularity but quality-wise it's up there.

I don't think the other two scores hold up as well, outside of some brilliant moments. Too Hollywood-ized and "loud" for much of it.

The first score is a genre-blending masterpiece though and more thoughtfully crafted. Definitely up there with modern film music's finest.

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51 minutes ago, Jurassic Shark said:

The score to the first Matrix is indeed聽good, but it's basically a John Adams rip-off.

I think that's a lot more dismissive of the work than it deserves. Yes, it pulls a lot from Adams, stylistically, but it's also a much more diverse package of modernisms, Horner tropes, 90s techno/pop riffs, twelve-tone rows and etc. Even Davis' take on the Adams-esque cells/riffs is more diatonic than you'd hear from Adams himself. He clearly pulled from that vocabulary to build his own thing. It's a great amalgamation of modernist techniques and homages filtered through Davis' own, more appropriate cinematic language.

To say "it's all John Adams" is an easy cop-out I think.

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2 hours ago, Bilbo said:

Matrix has aged terribly.

2 hours ago, crocodile said:

I don't Wachowski's film has aged badly at all. I mean yeah, sure, technology on screen looks ancient. But because film tells a mythical hero's journey in its purest form it sort doesn't matter. I would consider it a classic. Hell, it turns 20 this year!

Indeed.

I think that a film only ever truly ages when the sensibilities of it age.

If the story is good, the film will hold up even if all of its effects shots have dated.

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3 hours ago, Thor said:

THE MATRIX for film, INCEPTION for score. But -- as with most of these vs. topics -- both are fine films and scores.

I prefer the Juno Reactor/Don Davis stuff from the sequels more than the 'pure' Davis stuff for the first film.

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13 minutes ago, Jurassic Shark said:

I guess that was easier. ;)

Maybe. I don't think I'd ever call putting something like聽The Matrix聽together an easy feat. It's one thing to stylistically commit to either your own singular voice or aping another. But to tie together a wild genre-blending cocktail like The Matrix聽that doesn't collapse under the weight of its ambitions is impressive. At the end of the day, Davis'聽The Matrix聽manages to pull colours from the contemporary concert music, the pop world of the 90s and existing cinematic vocabulary to create great film music.

I think that's a key distinction to make. Someone like Adams, who's spent his whole life trying to break novel stylistic ground and meditate on what he's trying to say with his art has the luxury of time and artistic space (and generous commissions) to do what he does. Film composers on the other hand, especially B-list guys like Davis (who industry players hardly know), have about 3-4 weeks to write, orchestrate and record hours of music that has be fine-tailored to a motion picture, so naturally there's a lot less you can do or say with your work (aka a lot more artistic compromise involved). It's why a lot of modern film music actually isn't very interesting on its own. But to build something as ambitious and crafty as聽The Matrix聽is cause for celebration. I think it boasts a lot of integrity on Davis' part.

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No idea.

But I love the rooftop bit, when Trinity is about to jump from one building to the other. That brass ostinato always makes me聽think the music is going to break out into the SUPERMAN march (which is kinda fitting, since she's about to 'fly').

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