Arts and Entertainment

By Christine Kang

The Infinity Castle arc has the ultimate showdown, featuring battles against the demon slayers and the Upper Rank Demons for the new Demon Slayer movie available on Crunchyroll. 

Koyoharu Gotouge, a Japanese manga artist, released her first Demon Slayer animation on April 6th, 2019. This story began to gain popularity in late 2019 and early 2020. Demon Slayer stood out to many viewers because of breathtaking, fluid animation and fight choreography. This series also effectively blends classic shonen elements, a genre meant for young boys, with high-quality production.

Recently, Gotouge and her team released a new movie for “Demon Slayer: Hashira Training Arc.” This new movie is called “Demon Slayer: Kimetsu no Yaiba – Infinity Castle,” released on July 28th, 2025. The Infinite Castle is the climax and final major battlefield between the Demon Slayer Corps and the Demons, led by Demon King.

With the stakes at their absolute peak, Tanjiro, the main character and the highest-ranking Demon Slayer, and Hashira, are scattered across the castle. They must fight through hordes of demons while trying to reach the Demon King, who hides behind his fierce upper demons and has tricks rivaling the Joker.

From my view of this new movie, I believe people would be enthusiastic about this incredible, cinematic masterpiece of carefully woven dialogue with amazing action scenes. 

These characteristics pop up in many popular hit anime due to the excitement of young boys because they seem to appreciate high quality action scenes which usually are physical battles against characters. For example, the fight between Upper Demon Three, Akaza, and Fire Hashira, Rengoku ended with a tragic result in Rengoku getting a fist through his chest, tragically leading to his demise. Many anime addicted fans treated this as a unfortunate loss to a much loved character that added depth and emotion to the action. Not only did this spark sadness in the community, but the characters themselves felt incredible rage and vengefulness, leading to a marvelous battle between Tanjiro and Giyu Tomioka, the water hashira, against Akaza, Upper Demon Three, one of the top demons on the antagonist side. Despite many people on the internet being devastated by Rengoku’s death, the revealing of his miserable backstory captivated the hearts of many fans due to the suicide of his father and the killing of his close friends and wife who were part of a dojo teaching martial arts.

With much anticipation, “Demon Slayer: Kimetsu no Yaiba – Infinity Castle” has many exciting sequences, further adding to the appeal to different age groups, ranging from adolescents to adults. 

Personally, this anime opened my eyes to the possibility of expressive pictorial crafts of animation, which truly has the ability and potential to engross any viewer who actively enjoys well-crafted animations.

Overall, I would definitely recommend this movie to anyone interested in relaxing and watching an amazing anime that is capable of entertaining any audience.

By Yasmine El Hattab

From the moment marketing promised a grand conclusion, “The Conjuring: Last Rites” felt destined for glory. Released nationwide on September 5th, with a generous runtime of two hours and 15 minutes, the film positioned itself as the closure to the Conjuring’s timeline. Directed by Michael Chaves and penned by Ian Goldberg, “Last Rites” covers the real-life case of the Smurl family haunting—the final case the Warrens ever investigated—with its movie adaptation meant to tie together the decades of horror Ed and Lorraine Warren took on and close off a major horror universe. 

With the more notable features in the five-film series being the original “The Conjuring,” directed by James Wan, and “The Conjuring: The Devil Made Me Do It,” directed by Michael Chaves, the Conjuring universe has set itself within the horror genre, with “The Conjuring: Last Rites” set to follow the same direction as its previous movies.

Inspired by the real-life cases of Ed and Lorraine Warren, “The Conjuring” series itself follows the timeline of the two American paranormal investigators, historical names in ghost investigation, with their movie adaptations blending religious horror, emotional storytelling, and dramatized ghost hunting. 

Across the films, audiences follow the Warrens as they confront a string of supernatural cases inspired by real-life events, from haunted farmhouses to cursed artifacts. 

With spin-offs like the “Anabelle” and “Nun” series expanding the paranormal universe, the franchise has built a cohesive supernatural world rooted in faith, fear, and human struggle, making Last Rites not just another sequel, but a supposed farewell to one of modern horror's most enduring sagas.

Yet when credits rolled, what emerged rather than satisfaction was a strange emptiness, a muddled letdown of what was expected of the movie. For a film meant to close out more than a decade of ghost stories, demon lore, and the Warrens' cinematic legacy, “Last Rites” feels less like a finale and more like an afterthought.

While the Conjuring held itself to its common themes:crosses, demons, and unpleasant hauntings, the movie simply falls much shorter on other factors. 

One of the more memorable features of the series, demons, even seemed to appear much less than expected in the movie. 

Between the three demons that are being controlled by a haunted mirror, it seems like the mirror received more screen time than all the others combined. One of the primary demons, an axe-wielding entity—teased heavily in the marketing—appeared on screen no more than four times. For a spirit positioned as the center threat, its presence amounted to little more than a few jump scares and a scene where it blows out a birthday candle. 

Another major plot point in the movie, the supposed possession of the Warrens’ daughter, Judy, feels halfway done and almost unnecessary. For a franchise so well-known for its chilling depictions of hauntings and demonic possession, “Last Rites” shockingly underdelivered on one of its most emotional and terrifying possibilities. The scene lacks screen time and is quickly brushed over after. 

 The possession subplot, which could have given the film stakes and a deeply personal layer for the Warrens, instead plays out with minimal buildup and little consequence. Scenes that should have driven the emotional core of the film were seen as rushed or brushed aside, leaving Judy’s ordeal feeling like a background event rather than the heart of the story. Other films, even those outside “The Conjuring” name, have handled possession arcs with far more depth and intensity. 

Watching “The Conjuring: Last Rites” attempt the possession topic and fall short in what is a recurring horror feature, left me with much to wonder about the short lived arc, and was just a plain letdown. In comparison, “Last Rites” barely scratches the surface, leaving one of its strongest narrative opportunities completely wasted.

After years of watching the Warrens face some of the most terrifying entities in cinema, seeing the climactic battle resolved through the power of family felt wildly out of place. The idea that an evil mirror, the central source of all the torment, and an entity that had followed them for almost 20 years could be dismantled through emotional unity rather than faith, sacrifice, or even clever storytelling, felt inconsistent with the franchise’s established themes. Instead of invoking fear, the finale landed with a sentimental thud, reducing a decade of supernatural lore to a cliché moment of togetherness. 

For a film that should have been a haunting, symbolic farewell to the Warrens’ journey instead turns into a scene that stripped the ending of both tension and meaning.

In its finality, “The Conjuring: Last Rites" may not deliver the grand, haunting conclusion many hoped for, but it still carries a sense of familiarity and heart that longtime fans could recognize. While it struggled to capture the same tension and emotional depth that made earlier entries so memorable, its attempt to close such a massive chapter in modern horror deserves acknowledgment. The film touched on the Warrens’ enduring faith and love, themes that have always anchored the series, even if its execution fell short of its ambition. Rather than a chilling finale, Last Rites offers a gentler, if uneven, farewell to one of horror’s most defining cinematic sagas, leaving me unsatisfied. 

By Ella Lal

“Sinners” has been taking the internet by storm since its release in April. Directed by Ryan Coogler and starring Michael B. Jordan, “Sinners” is an excellent and groundbreaking film that is proof that audiences are hungry for meaningful and thought-provoking movies. My mother recommended the movie to me. She begged me to come see it in theaters with her because it was just that amazing and refused to spoil anything until we watched it together. If you haven’t seen the movie I implore you to do so. You can find it on HBO Max, Hulu or Amazon. I promise you it is worth it. Spoilers ahead for the movie as I discuss the movie in-depth.

The movie is split into two parts. The first half follows Smoke and Stack as they return home and the town's reaction to their arrival. Including their cousin, Sammie Moore, reaction to their return, who is struggling between choosing Christianity–and therefore his preacher father–or music and his passion for the blues. The second half of the film follows the survivors in the business opened by Smoke and Stack, The Juke joint, as they try to defend themselves from the vampire threat that await them just outside the door.

The beginning of the movie does an excellent job of establishing the characters in the movie. The first scene with the twins, is excellent at establishing them. The way Stack casually leans back on the car smiling shows his more carefree attitude. Meanwhile, Smoke stands straight and tall. He checks his watch then looks back up, visibly irritated. The juxtaposition between their personality is clear before they’ve even spoken a single word. 

Although Smoke and Stack are great, my favorite character in the movie is Sammie Moore. The scene that most thoroughly establishes Sammie’s character is his first scene with his father. In this scene Sammie’s father encourages Sammie to give up his passion for the blues. During this time the blues were considered “devil music” and were highly discouraged by the Church. Sammie’s father tries to test Sammie’s knowledge of the Bible, starting a verse and having Sammie finish it. Sammie completes it easily and confidently. You can even hear some cockiness in his voice. It’s clear that Sammie has thoroughly studied the Bible, but he still loves the blues enough to continue pursuing it even at the disapproval of his father. 

“Sinners” also has an excellent atmosphere, always letting an appropriate amount of tension build before hitting you with a jumpscare. This movie will have you on the edge of your seat, holding your breath. The jumpscares in this movie are sparsely but effectively used. The vampires are an excellent threat, it feels like you’re watching a predator stalk and wear down its prey. 

Jack O'Connell plays the main villain of the movie and he absolutely kills it. Anytime his character is on screen, he is stealing the show. His portrayal of Remmick the vampire is equal parts terrifying as it is charming. I also think it’s worth mentioning Remmick is Irish. This film takes place in 1932, and during this time the Irish in America were not considered “white”. Nowadays, it's more common to think of Irish people in America as “white”. They achieved this through cultural assimilation. They let go of their roots and assimilated into white American culture. In this process they lost their connection to their roots and culture. I personally think it was much too high a price to pay. I think that is what Remmick being a vampire represents. Remmick is so old that he was around when Ireland was invaded by the British. He even mentions Christianity to Sammie. When Remmick finally gets ahold of Sammie, Sammie begins praying. Sammie’s prayer causes Remmick to stop and pray with him. He even baptizes Sammie in the river. Remmick confesses to Sammie that long ago men came to his land and forced these words upon him. He hated those men but the words still bring him comfort. Ironically, he wants to continue inflicting this erasure on others, but calls it peace. He claims that being converted into a vampire will give them “fellowship and love”.

“Sinners” also has some amazing action sequences. They’re hectic without feeling confusing, flashy, and dramatic. The build up to the standoff with the vampires is excellent. The vampires surrounding the juke joint and singing “Pick Poor Robin Clean” is so eerie and makes you feel almost hopeless. The characters in this movie don’t feel stupid; they know what they’re fighting and have prepared accordingly. The thing about the action that stood out to me the most is that it still felt grounded but still fun. However, the last confrontation with the Klan is easily the coolest part of the movie. After everything you’ve been through, the movie indulges in a fun and campy action scene. Smoke absolutely tears through the horde of Klan members. It even boasts the iconic action moment of having the protagonist pull the pin of a grenade with their teeth. It’s definitely the most exciting moment in the film. It feels like a reward–at the end of this heartbreaking film, we get a last-moment triumph. 

The best part of this movie is easily its music. Miles Caton plays Sammie Moore, and his voice is undeniably breathtaking. Listening to him sing in this movie immediately touched my soul. The songs in “Sinners” have been playing nonstop in my home since I watched the movie. The music is heartbreaking, uplifting, and unique. The scene that really sold me on this movie was when Sammie sings “I Lied to You”. It's hard to put into words how incredible this sequence is. The blend of music across generations is something I’ve never heard before, especially the way the music shifts to highlight each genre. There is a reason you will often see people online describe how this scene “changed their brain chemistry.” This scene alone was worth all the money I spent on the tickets to see this movie. This scene is not viewed, it's experienced.

“Sinners” is such a rich experience. If there is one movie that you released in 2025 that you should absolutely see, it’s “Sinners”. 

By Kenny Lin

Tucked between 21st and 22nd streets on Taraval, a small, vibrant blue take-out restaurant named Little Aloha sells comforting Hawaiian food. Inside, you will find a small, bright, and clean environment with tropical theme decorations. A bench is located outside, where you can sit while waiting for your food. The menu is limited, offering a total of ten dishes, with prices ranging from $3.50 to $16.00, tax excluded.

Popular dishes include shrimp and sausage, Spam musubi, and shaved ice, with one vegetarian option—tofu poke.

As I walked in on a late afternoon, no one was at the cash register. In the back, the employees were busy cooking up dishes. Instead, orders were taken through a kiosk at the corner. I ordered a full-size shrimp and sausage—a combination of garlic shrimp and pineapple sausage—for a total of $17.38.

It took ten minutes to get my order. The food came in a rectangular plastic container; it was hot, heavy, and freshly made. When I opened the container, the food was beautifully presented: sausage charred, shrimp golden, all coated in a garlicky paste beneath rice, garnished with green onions, and accompanied by sautéed cabbage and a sliced lemon on the side. The smell was rich and nutty, wafting from the infused garlic butter.

Taking a bite of the sausage, it was delicious: umami, salty, and sweet. Snappy and fatty, with bits of pineapple embedded, giving it tang and sweetness.

Next, the fried shrimp: the shrimps were deveined, but the skins were still attached when fried. It gave an unusual, textural, crispy contrast in the mouth. It tasted slightly ocean-like, mildly sweet, and perfectly salted and cooked.

The rice beneath was short-grain; it was tender and soft, not too mushy and not too dry, a perfect absorber of all the garlic butter.

Overall, the shrimp and sausage was well-balanced; none of the flavors overpowered the others. The dish's umami paired nicely with the saltiness, sweetness, and pungent aroma. The sliced lemon on the side helped cut the richness and added brightness.

The foods are high quality, fairly priced, and delicious. The portion matches what you pay, and the service was fast and efficient. Unfortunately, dining in is not an option, but food can be taken and eaten in the nearby park, an excellent choice for a picnic.

I would come back to try their shaved ice and Moco Loco, a rice dish dressed with a hamburger patty, gravy, and a poached egg. 

By Quincy Fulton

When the fourth season of this dramatic-comedy aired in June earlier this year, I had excitedly anticipated binging it. However, instead of binging it, I watched it sporadically until I stopped halfway through. Something felt different, and it made me wonder: how could a show with extraordinary actors, an entertaining premise and such volatile conflicts get boring?

If you’ve never seen “The Bear,” the award-winning show is one (hyper-extended) family’s efforts to create a successful, sophisticated restaurant in the wake of their brother Mikey’s death by suicide. Fast-paced, foul-mouthed, and high-tensioned brother, Carmen ‘Carmy’ Berzatto (Jeremy Allen White), stars as the talented leading man desperate to show he has what it takes to run a thriving business despite money, relationship, and review troubles—plus his tendency to bolt when things get hard.

This season opens with an immediate reference to the 1993 movie “Groundhog Day”, where a man is stuck reliving the same day on repeat, testimonial to Carmen’s own journey over the course of these ten episodes. With many other references to classic movies and neverending nostalgia-inducing music, this season knows how to comfort just like grandma’s cooking. 

In fact, the word “comfort” rang in my ears a lot this season. Carmen and his recent love interest, Claire, rekindle with a slow dance at Tiffany’s wedding after Carmy disconsolately lashed out and ended their relationship in season three. Many other characters, too, say sorry, in between their dozen vulgar arguments. 

A love letter to Chicago, family, and food, this season felt like a warm hug from the aforementioned grandma. However, how much sympathy and solace is too much? Compared to the snappy, tense previous installments, season four felt subpar.

The previously outstanding ensemble cast have all already undergone many arcs, conflicts, self-doubt, and self-growth. The problem I found this season is that they were left to just…finally move on. This makes for imperative healing, but for entertaining TV it does less so. All of the beloved kitchen staff seem stuck in limbo between owing debts—emotional and material—and letting go. To do so, the characters have to deal with each of their past traumas and shove aside their grievances to smoothly progress.

The issue is that they spend the entire season relinquishing these issues, sparing little time for new conflicts. Sydney Adamu, the conscientious restaurant partner of Carmen, is stuck in a second kind of limbo in her effort to decide whether or not to stay working at The Bear. This provides for much of the season’s drama, but the way it was framed spares little suspense for her final decision. In the final episode, she becomes one of the head partners of the business, a fact I feel like the audience expected.

Chapter four had its strides, but it still felt off, like it hasn’t really regained its footing yet. Where this season made progress in sentimentality, it lacked actual conflicts to keep the viewers entertained—my issue with the former season as well.

There were episodes I thoroughly enjoyed, like the one where Sydney cooks her friend’s daughter a meal after getting her hair braided, the one where Tiffany and Frank get married and all of the cast sit under a table together discussing their fears, and the final emotional episode where Carmy passes the restaurant to Sydney. In the context of character growth, these three episodes are home runs; however, the rest of the season felt like filler in a way that it should not.

Overall, this season stumbles. It may have made a few good dishes, but as a buffet, it felt unfocused, and I wouldn’t immediately recommend it. Hopefully, season five brings the heat after season four’s surprising ending.

By Abigail Park

Popular song “Golden” from the movie “Kpop Demon Hunters” covers up a superficial storyline

Lincoln High’s AP World History and AP Psychology teacher, Brendan Furey, plays “Golden” at the beginning of every class period this fall; is the movie it originates from also binge-worthy?

Released on June 20th, 2025, Netflix’s underdeveloped animated musical action-comedy “Kpop Demon Hunters” dominated the real-world movie and music industry with over 300 million views. In the movie, Rumi, Mira, and Zoey from female K-pop group Huntr/x attempt to protect their fans and the Honmoon, a barrier between the human and demon world, from supernatural soul-eating threats, including the secretly demonic male K-pop group, the Saja Boys. The movie’s popularity derives from the catchy tunes and lyrics of the songs, and overlooks the rushed, shallow plot.

You may have heard Huntr/x’s famous K-pop song “Golden,” or “Soda Pop” by the Saja Boys. By July 19th, 2025, “Golden” rose to number one on the Billboard Global 200 and Global Excl. U.S. charts. Supposedly significant to the plot, many fans, including children, claim that “Golden” progresses main character Rumi’s development by embracing her hidden, supernatural secret, instead of continuing to hide who she truly is. 

In the pre-chorus of “Golden,” Rumi sings, “No more hiding, I'll be shining/Like I'm born to be.”

Discovering this, I braced myself for a cultural lesson and emotional rollercoaster.

During an initial watch, the movie presents itself as fun and enjoyable through bright and action-based animations, but disappointingly anticlimactic. The movie indeed highlights Rumi’s development as the main character and incorporates Korean culture through historically accurate weapons and clothing; yet, the other two Huntr/x members, Mira and Zoey, and the Saja Boys, Jinu, Mystery, Abby, Romance, and Baby, do not receive much screen time, resulting in forced emotional moments and basic dialogue.

The most controversial scene was the “big sacrifice scene” towards the end of the movie, where one character gives up their life for the main character during a crisis. 

The main character pleads to the sacrificial character by saying, “No!”

The sacrificial character responds, “I’m sorry for everything.”

Due to lack of character development throughout the movie, this moment feels predictable, ineffective, and cliché.

“Golden” significantly popularizes the “Kpop Demon Hunters” movie, but overall, the movie focuses on style rather than substance, resulting in overhype and overratedness.

By Zoë Hsu Doo

Few shows dominated the summer season like “The Summer I Turned Pretty.” By season three’s premiere this July, those who had never even watched an episode could recognize the love triangle. Team Conrad versus Team Jeremiah debates dominated social media, brand endorsements, and public forums. “The Summer I Turned Pretty” craze was inescapable. As one of the most anticipated final seasons this summer, the uneven pacing and character portrayal left the long-awaited finale feeling more rushed than satisfying.

The first season’s release in June 2022 on Prime Video was met with interest from the large fanbase of the book series the show is based on, by Jenny Han. 

The series follows Isabel “Belly” Conklin (Lola Tung), who spends every summer in the fictional Cousins Beach house. After “turning pretty” right before her 16th birthday, Belly finds herself in a love triangle between brothers Conrad Fisher (Chris Briney) and Jeremiah Fisher (Gavin Casalegno). After two seasons of growth, heartbreak, indecision, and grief, season three jumps ahead four years as Belly navigates adulthood, independence, and the ultimate choice between the two brothers.

From season one, many entertaining deviations from the original plot have been added to the show, such as the debutante ball and certain characters. In this season, the biggest question asked by the fans was “Will Jenny Han, who is heavily involved as the showrunner, executive producer, and occasional director, follow the endgame in the books or not?”

The strengths of this season are undeniable: fan-service moments, the visual aesthetics, the immersive soundtrack, and improved acting overall, particularly by Tung and Briney.

Prior to season three, if the love triangle between Belly, Conrad, and Jeremiah was taken away, Belly’s character would have no personality or substance. Her motivation, achievements, and dreams are all nonexistent in exchange for showcasing her relationships with other characters. As someone who is very anti-Belly, her character development this season was a highlight. For the first time, the audience gets to know Belly outside of her romantic relationships. Her journey to reinvent herself beyond the love triangle makes her more well-rounded and likable as a character. 

However, the weaknesses weigh heavier. The pacing is conflicting, subplots and character arcs are undeveloped, and the once-exciting love triangle feels repetitive.

Jeremiah’s character conflicts with the previous seasons’ iterations of him. His character arc is deeply frustrating, not just because of his actions but because the writing choices felt suddenly inconsistent, like they were manufactured to make the viewer dislike him. In the first two seasons, Jeremiah was the responsible caretaker for his family, managing medical bills and caring for relatives, yet in season three, his financial and academic responsibilities are a main focal piece. Similarly, his personality was outgoing, emotionally available, and supportive; he had character flaws, but they did not overtake his character. This season, his inferiority complex, selfishness, and immaturity came to the forefront. The four-year time jump doesn’t allow the audience to see his character progression, instead making the personality shift feel like an attack from the writers.

In comparison to the previous seasons, with season one conveying naive summer romance and new beginnings, contrasting season two’s more depressing feel while they handle grief and family tension, season three feels like a weak resolution. The promise of a continuation film may explain the lack of closure, but it is not an excuse. 

For example, “Sex and the City” was a TV show that eventually had a movie, yet the ending of season six didn’t feel unfinished. By contrast, many of the “TSITP” storylines felt drawn out in the beginning but rushed at the end, and fan theories went unresolved.

“The Summer I Turned Pretty,” the show that encapsulated summer escapism, may have satisfied the fans’ desire to see the story continue, but it failed to resolve three years of anticipation. 

While the show is categorized as Young Adult and initially had a mostly teen audience, according to the New York Times, the majority of the viewers are Millennials and Gen X, showing the show's main appeal: entertaining romantic drama. For me, the discussions and debates surrounding “The Summer I Turned Pretty” are more entertaining than the show itself. My final rating is 6.5. That being said, I will be sitting in the theater when the movie comes out.

By Anya Golden

The first Matrix movie explores themes of rebellion, reality, truth and the future. It dissects the unique human experience of our relationship with technology and our constant exposure to stimulation and distraction which leads us to accept what is in front of us for what it is. This film is not only thought-provoking but also aesthetically interesting. 

Only 40 out of the total 136 minutes in the film are spent in the “real world.” The other hour and 35 minutes are spent in the Matrix--a simulated reality created by AI. In the film, AI has been farming humans for energy after humans scorched the sky to prevent AI from harnessing solar power. One man was able to go in and out of the “real world” and the Matrix, so he started freeing people, leading hundreds out of the Matrix. After that man dies, one of the rebels, Morpheus, finds and frees Neo, who he believes is “the one” destined to save the world. 

Watching this movie is not only thought provoking but also aesthetically pleasing. The black trenchcoats of Neo and Morpheus and their beady black sunglasses are a trademark of the movie that you continue to associate them with. I appreciate the creative contrasts like the green saturation of the matrix with the blue saturation of the real world, or the AI agents’ suits and the rebels’ clothes made of black sleek fabric and leather. The sets are also eye-catching. The city in the Matrix and the hideouts in the real world are aged and crumbling, reminding me of other post apocalyptic movies.

I can not discuss this movie without mentioning its obvious inspiration from “Allegory of the Cave”,The 380 BCE philosophical passage written by Plato in Book VII which describes prisoners chained in a cave, mistaking shadows for reality, to illustrate the difficult journey from ignorance to knowledge.

The main character Neo goes throughout the world having an underlying sense that what is in front of him is not the full truth. Plato says that those who can become fully enlightened must already have a soul somewhat aware of truth, which Neo possesses. 

 His computer hacking skills allow him to bypass online barriers and disturb what is presented to the user, distorting the truth and reality in his own way. He also seeks out the rebel leader Morpheous, although as the viewer we are not exactly sure why, it can be assumed it is because he is

“What you know you can't explain, something wrong with the world but you do not know what it is. Like a splinter in your brain driving you mad.” Morpheus says to Neo before Neo chooses to escape the Matrix by taking a pill. 

When Morpheus says "Unfortunately no one can be told what the Matrix is, you have to see it for yourself,” it is similar to what Plato says about how enlightenment can not be taught but must be experienced. This is an archetype which continues as Morpheus will bring Neo places but tells him he has to make the choice to pursue what is presented to him. 

I also take the computer light that illuminates his face as he is in his apartment as the fire referred to by Plato--a mimic of the sun, or truth. Light comes back into play when his consciousness is transported from the Matrix to the real world and he is sucked out of his pod and into a body of water where a bright light is shone down onto him making it hard to see, before he ascends to where the rest of the rebels are. Further connecting to Plato's metaphor of not being able to fully see when one steps out of the cave, being blinded by the sun is when Neo's eyes hurt and Morpheus says it is because he has never used them.

I find the way that the AI agents view and describe humans is also interesting. They feel as though the farming of humans is just another step in evolution and that humans are inferior. When Morpheus is captured, an agent explains how when the Matrix was first designed it was a perfect and extremely happy world, but that no one would accept it and destruction arose. The agent views this as a human flaw, a weakness; but I believe differently. I dont think that humans want war or famine or genocide, but I do think that we find value in difficult shared experiences. Even more so, we subconsciously need to overcome challenges for improvement or change. A great example of this is how teachers will tell you it is important to fail because that is how you learn. 

Ultimately, this movie is very powerful because it encourages us to question our reality. It is not just about machines or presented realities, but about how we go about our own lives. This does not need to be in as extreme of a sense as breaking out the computer program and destroying AI but can be on simpler levels. For example, question your habits. Why do you have the opinions you do? Are your actions influenced by capitalism, social media, peers? Why do you not take more direct action in your beliefs? How do you register people's faces? What do you notice first? 

Just as Plato does, the Matrix makes you realize how many habits or beliefs you take as your own or as capital-T Truth, giving one a greater perspective on life.