Mortal Kombat: sub-zero reviews


After the harmless B series was passed down to posterity thanks to Christophe Lambert’s laughs and the song Eurodance, as well as a sequel that pushed the boundaries of late 1990s digital ugliness by pure laziness, the Mortal Kombat license will be reborn from its ashes in theaters through Warner and director Simon McQuoid. But unlike the video game trilogy from NetherRealm Studios and despite an interesting cast consisting of Joe Taslim, Josh Lawson, Lewis Tan or even Hiroyuki Sanada, the long-awaited adaptation doesn’t reproduce the madness of the model’s temper. Attention mini-spoilers!

The success of the Mortal Kombat adaptation depends on how you approach the storytelling. The story that is assumed to have embroidered the azimuth mythology completely starting from the charisma of its characters, to returning a scenario that only relies on their plurality in less than two hours is part of a suicide mission. But that’s what this new version is trying to achieve, whose main selling point is loyalty. Mortal Kombat 2021 intends to double down on iconic protagonists, even if that means hating them.

Therefore, most of the listings of the first two works are on the bill. But without the advantages of video game support, the top of which is a very long life, they are mainly used to dress up backgrounds, disguise the most outrageous plastic sets or above all serve as cannon fodder for sacred death. , bloody execution has made the reputation of the license, whose presence is guaranteed.

The abyssal void that pollutes many secondary characters as well as the heroes. In this case, the fighter being introduced to replace Liu Kang might be deemed too exotic to crystallize the stakes (and who finds himself playing a gentlemen’s show with Raiden) is a pretty clear admission of failure. Unable to cope with the sheer madness of the monsters, entities, and warriors placed in their hands, a group of screenwriters fall back on an interchangeable American figure like him abounds in lowly origin stories in front of dear Uncle Sam. .

And if all these tiny worlds struggle with the universe created by Ed Boon and John Tobias, it’s only because they don’t understand what makes their power. Mortal Kombat, a classic comical franchise that rarely sticks around to poke fun at its own perks, never makes much of its plot, always considered a popular culture pastiche. A terrifying first level, the screenplay enables itself what even a Paul WS Anderson feature film dares not do: filter the delusional powers of the combatant through Hollywood rationality, reducing the regressive delirium of the original material to a perpetual repetition of the chosen one in search of his buried powers.

Disasters on all floors, the epicenter is not difficult to determine. The worm is already in the fruit before it even sprouts. Mortal Kombat’s origins were initially driven by only one marketing argument: fan service. The game itself is filled to the brim, the hollow-nosed executive then commissions an army of screenwriters and direct contractors from the advertising world to manufacture a product meant to give fans a foothold, the most cynical new core target. major.

Except that the company ultimately only testified to the disdain these executives felt for them, and another confusion between respect and citation. There’s no shortage of quotes in this 2021 cuvée, from subtle graffiti on decorative backdrops to heavily proclaimed replicas, reciting nearly all of the tale’s most famous lines. However, there is no trace of the over-the-top cult cult directly inherited from the splatter films of the 1980s and 1990s (a hallmark of the franchise) nor its acclaimed black humour, which is so provocative and irresistible.

Gloomy stages, filled with vats of acid and sharp spears, give way to generic temples, the most entertaining characters cut off from their cruel obligations and above all violence limited to contracts. A terrible scheme, the production is content to identically replicate some of the best deaths, including pixels, without delivering the promised bloodbath. Where’s the real burst of hemoglobin from the first game? Where’s the absolutely senseless mutilation from the last trilogy? Not in McQuoid’s contract by any means, mandated to deliver shallow action films with a few forced flickers.

This logically produces a feeling of extravagance, especially since those in charge of these disguises are eager to engage some of the meanest monsters to rob them of their potential.