If a philosophical guide to the world of "The Matrix" were ever complied, it would read as an anthology of some of the most important pieces of thought ever recorded. Even from a cursory glance, the films in this series are filled with obvious references to both Old and New Testaments, Hindu legend, Buddhist contemplation, 18th century Enlightenment Thought and 19th century nihilism. Several books have been written on the philosophical content of the Wachowski Brothers' work, and volumes more could be assembled.When the band of cybernetic warriors were last seen in "The Matrix: Reloaded," Neo (Keanu Reeves) lay comatose after disabling a group of sentinels, the squid-like machines that run amok in the physical world. Morpheus' (Laurence Fishburne) beliefs lay in ruins, Agent Smith (Hugo Weaving) continued to wreak havoc inside the Matrix and the machine army drew ominously closer to Zion. But the function of the second act is to be the transition piece, and in "The Matrix: Revolutions," the hanging plot lines are all dealt with in a most exhilarating manner.

Few new characters are introduced in this final act, but the existing characters are at long last fully developed. As in the previous films, "Revolutions" opens with a sweep through a sea of green code, but this installment begins in the real world. Morpheus and company are desperately trying to uncover the source of Neo's coma while simultaneously trying to find the location of Niobe (Jada Pinkett-Smith). From this point, "Revolutions" develops into an endless sequence of action, revelation and emotion. This film was hotly anticipated, and the Wachowskis do not fail to live up to the excitement and deliver a spectacular conclusion to their cinematic epic.

Of the new characters, a young Indian girl named Sati (Tanveer Atwal) is most relevant to the fabric of the story. Her importance is slightly perplexing, but she ultimately finds a place in the world. When Neo awakens, he meets Sati but is then unpleasantly introduced to the Trainman (Bruce Spence), a depraved lunatic under the employment of another loathsome character. The aptly-named Deus Ex Machina completes the array of players in the war between humanity and the machines.

Several characters are also elevated in their roles for the conclusion. Morpheus and Trinity (Carrie-Anne Moss) enlist the help of the Oracle's guardian Seraph (Collin Chou) in their quest to end the war. The ultra-Gaullist Merovingian (Lambert Wilson) and his seductress wife Persephone (Monica Bellucci) return briefly. The Architect also returns for a short period, reinforcing his role as the ultimate technocrat.
The Oracle is more present this time too, although the actress is different. Award-winning stage actress Mary Alice assumed this important role for "Revolutions" after the original actor, Gloria Foster, passed away due to diabetic complications between the filming of "Reloaded" and this film. Alice's Oracle is still prophetic and reliable, but she lacks the underlying gracefulness and fortitude that Foster brought to the character. Despite this setback, the film provides an acceptable explanation.

Of all the anticipation surrounding this film, two inevitable showdowns drowned out the rest of the hype. The machine army arrives at Zion for a fight that is nothing short of pure visual gratification. While the battle is obviously expected, it is thrilling to the last moment.

The other inevitable fight is the culmination of the personal war between Neo and Agent Smith. As hinted in trailers, Smith has amassed a vast army of, well, himself. Hugo Weaving always brought a naturally insidious quality to Smith, but his overwhelming malevolence this time nearly steals the entire film. Smith was always a particularly abhorrent enemy, but he has never been more twisted and more enjoyable to watch.

As with the conclusion to any trilogy, the hanging plot threads need to be settled, and this is beautifully accomplished in a masterful combination of violence, imagery and dialogue. Even Neo utters a few lines of meaningful script in "Revolutions," somewhat remarkable as he was kept silent for much of the first and second films. There are genuine moments of sadness, but also instances of great hope.

Another departure in "Revolutions" is the music. While the filmmakers preferred to fill the soundtrack of the first two installments of the series with techno and industrial rock with some contributions from composer Don Davis, the music this time is entirely an original score. Davis composed a masterful score for this conclusion, conducting a 99-piece orchestra and a full choir. Vibrant horns and powerful choral work play emphatically off the visual action, creating a complete film.

Four years ago, Andy and Larry Wachowski unleashed a cinematic phenomenon that now comes to its stunning closure. The visual effects are beyond anything seen before; the characters live up to their philosophically-loaded names; and the story comes full circle. An excessive use of Christian imagery might be its only drawback, but this is not a great flaw. This film leaves much to be contemplated, but still answers many pertinent questions about the world of "The Matrix."

"The Matrix" has expanded this year beyond the typical nature of action and sci-fi series. The full trilogy, with its continually groundbreaking visuals, deeply rooted philosophy, inherent complexity and innovative action sequences are astounding. Although this is only cinema, there is a genuine attachment between the characters and the audience. It is slightly distressing to see the series end, but it will undoubtedly remain one of the most inventive, enlightening and visually gratifying set of movies to appear on the screen.