Rocky IV absolutely did have a theme of technology in it, but I would agree that it doesn't align cleanly with a simple "Soviet superiority" narrative. The usage of technology - with a robot wishing Pauli happy birthday, the Vince DeCola synthesizer score(which is excellent) backgrounding every scene, and Ivan Drago portrayed as a Terminator-esque technological superman through contrasting training montages, rather characterized Rocky and his peers as ordinary people trying to keep up and adapt during a time of complex change, with the narrative effect of humbling Rocky so that he can remain an underdog against the odds.

But since I mentioned Terminator, it bears more discussion here too. Terminator plays on the apocalyptic fears of that era with an technological antagonist who is literally from the future, and greatly predates the Matrix in that respect: as "dangers of technology" stories go, it's one of the most influential of our time. But even before Terminator there was a cultural moment in the USA that precipitated this fear. It happened, as a lot of things, between the late 60's and early 70's, through a culmination of events: The civil rights and gay liberation movements, the moon landings, the birth of UNIX and modern telecommunications, the shift away from the post-war economy towards the neoliberal regime, the Vietnam war, and yet more.

One of the reasons why the 70's feel less clearly articulated in outlook is because the reactions to all these events were still forming. The conservative and anti-technological backlash to this era's progressive breakthroughs found a voice through a mix of vigilante narratives like Death Wish and Dirty Harry, and slasher horror like The Texas Chainsaw Massacre, and then as time went on, in post-apocalyptic fiction as well, like the Turner Diaries(explicitly white supremacist and championing a death-cult outlook).

A common thread in this is that the Soviets are just one more shape of the Other, often never even appearing onscreen, but playing a role in the pantheon of threats to society regardless. And so by the time you get to Rocky IV the narratives are simply blended together: Ivan Drago might as well be fighting on behalf of Skynet, and Apollo Creed's place in the series is often a stand-in for race relations, in this case using his death as a punctuation - it is white America that must fight for survival.

The Matrix, then, is in its own way a development and turning point to these tropes. While Neo does act as a "white savior", the critique of technology is through its efforts embodied in Agent Smith to give up his crusade and push him back into the system - into normative white society.

In general, it's more the exception than the rule for any of these stories to be technology-centric, rather using it as one of several themes.