It's what being human is all about with our imperfection. Humans aren't perfect, so our creations in all likelihood will inherit some of our flaws, no matter if they happen to be digital and following certain fixed patterns and constructs.

Creations made in the image of is quite pronounced in a scene that stood out almost like Michelangelo's Creation of Adam, although here it's interpreted in the digital realm. Or how about something which reminds one of Gotham City's caped crusader, with the Tumbler inspired getaway vehicle with large inflatable tyres played out in a scene right out of Tim Burton's first Batman movie with the long road back to the secret hideout within which to seek out answers to questions left silent en route.So I may be stretching it, but there will be certain degrees of familiarity you'll find in some moments of the story, but I assure you the crux of it is a film that has deeper pathos, dealing with man's relentless pursuit for perfection and utopia, and the desire to play god if given a chance. But of course the Wachowskis didn't have Daft Punk to turn the tables, and parallels between the Matrix and the Grid cannot be more prominent given entities within are programs, with the ones gone rogue instilled with a desire to cross over to the real world.Then there's something unmistakably Star Wars about it too, with the designs of attack space crafts zipping through the night sky, and clearly one of the many gorgeous costumes here can't seem to hold a candle to what looked like an awesome robe, simple as it is, but striking nonetheless.

That of Kevin Flynn the founder of Encom and his digital creation / avatar Clu to meet Castor played by Michael Sheen with flamboyant spunk an information broker in the undergrounds of the digital Grid world, seems to have contained a whiff out of The Matrix Revolutions, with Persephone and Merovingian.

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