REVIEW: “Mortal Kombat” (2021)

April 23, 2021 by Keith Garlington

Well this is a remake/reboot I never saw coming. I remember when “Mortal Kombat” took the early 1990s arcade scene by storm. From the very start the video game from developer Midway courted controversy for its graphic violence (aka Fatalities) which paved the way for the ESRB video game rating system. But “Mortal Kombat” also became a cultural phenomenon that spawned numerous sequels and since 1992 it has appeared on nearly forty different gaming platforms.

In 1995 during the height of the its popularity, “Mortal Kombat” did the unthinkable and came to the big screen. I vividly remember sitting in a jam packed theater on opening night. To this day it was one of the most excited and energetic crowds I’ve ever sat and watched a movie with. In all honesty, aside from a great score and some terrific fight choreography, it wasn’t a great film. But it remains a lot of fun. Sadly it was followed by a cringy and utterly abysmal 1997 sequel that seemed to kill the movie franchise in its tracks.

Yet here we are in 2021 getting a brand new film offering a completely different take on the franchise. Simon McQuoid makes his feature directorial debut in this entertaining and hyper-violent adaptation that tosses aside any and all PG-13 constraints. McQuoid along with screenwriters Greg Russo and Dave Callaham go all-in for the R-rating, giving fans of the video game series all the blood-drenched kombat and grisly fatalities they could ask for. The story is every bit as silly as it sounds, but it also makes for a good time if you know what to expect.

Image Courtesy of Warner Brothers

The movie opens with a terrific introduction to two of the franchise’s most iconic characters. In 17th century Japan Hanzo Hasashi (played by the always terrific Hiroyuki Sanada) has set aside his old life and now happily lives in a quite village with his wife, young son, and newborn daughter. But his new life is interrupted by a team of assassins led by the cold-hearted (see what I did there) Bi-Han (Joe Taslim). The brilliantly conceived intro plants some narrative seeds and gives the audience a taste of what McQuoid and company have in mind.

Now jump ahead to current day where a lot of goofy exposition lays out the setting and backstory. In a nutshell the dark and ominous Outworld and our Earthrealm have been battling it out in an ancient to-the-death tournament called Mortal Kombat. The built-in rules state that the first realm to win ten tournaments will be granted the right to invade and overtake the other realm (don’t ask, just go with it). But when Outworld’s leader, the sinister sorcerer Shang Tsung (Chin Han), gets wind of a prophecy that could thwart his victory, he decides to bend the rules. He sends his top warriors to kill Earthrealm’s upcoming batch of new champions each bearing the same dragon mark on their skin.

Despite the franchise’s wealth of great characters, the movie makes the interesting choice of introducing a new face as its lead. Lewis Tan plays Cole Young, a down-on-his-luck former MMA champion marked with the dragon symbol. Cole is thrust into the world of Mortal Kombat after Bi-Han (now known as Sub-Zero) attempts to kill him and his wife and daughter. Through no fault of Tan’s, Cole doesn’t make for the most compelling protagonist and he’s consistently overshadowed by the big names who fans are really itching to see.

Image Courtesy of Warner Brothers

While Cole is considered ‘the lead’, the supporting cast of established franchise veterans get plenty of screen time and are the gas that keeps the engine running. Sonya Blade (Jessica McNamee) and her special forces partner Jax (Mehcad Brooks) have been studying the dragon symbol and searching for those marked by it. Lord Raiden (Tadanobu Asano) is responsible for gathering earth’s new batch of champions. The unsavory Kano (Josh Lawson) is a dragon-marked mercenary who can be both laugh-out-loud funny and aggressively obnoxious. Kano is essentially an attempt at comic relief, pumping out some genuinely funny one-liners while exhaustingly cramming as many f-bombs into each sentence as he can.

To this biased Sub-Zero player, not only is he the film’s coolest character (sorry, couldn’t resist) but he gets many of the best scenes including a showdown with a certain fiery nemesis. Other recognizable names get their moments to shine including Liu Kang, Mileena, King Lao, and a few other surprises. They all weave in and out of a story that mostly takes a back seat to the high-energy fight scenes.

The rest of the movie never quite matches its exhilarating opening 15 minutes and it’s surprising to see how little the actual Mortal Kombat tournament plays into the story. At the same time “Mortal Kombat” is very much a movie made for the fans. It takes a lot for granted and expects the audience to either already know the backstory or have a certain willingness to just go with it. That allows it more time to show off what it does best – offer thrilling, deliciously brutal, nostalgia-soaked kombat. And while it’s a far cry from a ‘flawless victory’, it’s an undeniable good time specifically for those who know the franchise well. “Mortal Kombat” today (April 23rd) in theaters and on HBO Max.

VERDICT – 3 STARS

First Glance: “The Conjuring: The Devil Made Me Do It”

April 22, 2021 by Keith Garlington

While the spin-off movies have been pretty hit-or-miss, the two main Conjuring films are among my favorite horror movies from the last decade. The third installment, the aptly titled “The Conjuring: The Devil Made Me Do It”, was set for release last September but was knocked back by COVID-19. Now it’s back on the schedule and the first trailer gives fans of the franchise plenty to look forward to. In an interview director Michael Chaves told IGN that producer James Wan pitched the sequel as “Se7en” set within the Conjuring universe. As if I needed more reasons to be excited.

“The Devil Made Me Do It” sees the return of paranormal investigators Ed and Lorraine Warren (the perfectly cast Patrick Wilson and Vera Farmiga). This is yet another ‘based on a true story’ story, more specifically the case of Arne Cheyenne Johnson who was convicted for killing of his landlord. During his trial Johnson claimed he was demon possessed, the first time it was ever used in American courts as a defense. Ed and Lorraine are called in to find the truth and (of course) chills and terror ensue. The trailer looks great and this could be another top-notch installment in what has turned into a stellar horror series.

“The Conjuring: The Devil Made Me Do It” releases June 4th in theaters and on HBO Max. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Stowaway” (2021)

April 22, 2021 by Keith Garlington

Last year Netflix ventured into space with the George Clooney directed “The Midnight Sky”. It was a low-key, yet soulful and penetrating slice of science-fiction that deserved more buzz than it received. The streaming giant is back among the stars with their new film “Stowaway”, a similarly understated sci-fi drama that probes the human experience as much as it does the vast wonder of deep space. It may not dive as deep into its central premise as it could have, but it’s both thoughtful and immersive which is exactly what I was hoping for.

“Stowaway” is the sophomore effort from director Joe Penna. His previous film was 2018’s “Arctic”, a terrific Mads Mikkelsen survival thriller that introduced Penna as a filmmaker of remarkable restraint and focus. “Stowaway” sees him pulling out those same traits in telling yet another survival story although one with a few more characters and more moving parts.

Image Courtesy of Netflix

The story (written by Penna and Ryan Morrison) begins with a space capsule launching from earth, its three-person crew set for a two year research mission to Mars. Space junkies should love the exhilarating opening sequence which gives a cockpit view of the craft as it leaves the atmosphere and then docks with their main ship high above the planet. Once connected, Dr. Zoe Levenson (Anna Kendrick), team biologist David Kim (Daniel Dae Kim), and ship commander Marina Barnett (Toni Collette) begin settling in for their long journey.

While it may not play well with everyone, one of my favorite things about “Stowaway” is the way it shows the crew’s meticulous operation of the ship. Penna’s observant camera allows us to watch the crew members work rather than listen to long drawn-out scientific explanations for everything they do. Of course we do get conversations about magnetic radiation proofing and the CDRA, but they’re very organic. We don’t always understand what they’re doing or saying, but the characters know and we believe them. And don’t worry, it’s never monotonous, just authentic.

A few hours into the mission while running a routine systems check, Marina makes an alarming discovery. She finds a man (Shamier Anderson), wounded and unconscious in a large overhead compartment. He wakes up in a panic, realizing he’s in space and with no recollection of how he ended up onboard. Once the crew settles him down they learn his name is Michael, a launch support engineer with the ground team. As Marina works to confirm his identity with Mission Control, Zoe and David show Michael around the ship and try to help him feel like a part of the crew.

And then things start to get hairy. Marina discovers that the ship’s life support system was critically damaged during Michael’s incident. Even worse, calculations show there’s only enough oxygen for three people to make the trip to Mars. So the original trio are faced with a unenviable dilemma. Do they remove the new and virtually untrained Michael from the ship in order to save themselves and the mission? And if they do, could the guilt-burdened crew ever safely complete their mission? The moral conundrum infuses the story with a psychological tension that could have been explored deeper but that is fascinating nonetheless.

Image Courtesy of Netflix

The cast of four turn in solid performances and serve up some interesting characters even though they aren’t given much in terms of backstory. Zoe is an energetic young doctor who sees the mission as a chance to give her life meaning. David is a dedicated scientist with a wife back home who loves Harvard and experimental jazz. Marina is a seasoned space traveler with two missions under her belt and this one set to be her last. And of course Michael is a bit of a mystery by design but we do learn he has a sister back on earth who he looks after. Those handful of facts are pretty much all we get. It’s not a huge issue but it softens our emotional attachment to the crew.

“Stowaway” doesn’t break any new ground nor does it move the genre into any new directions. But it is an entertaining and assured science-fiction effort from a talented and tightly-focused filmmaker. It also looks great, from its terrific set design full of cool and highly-detailed ship interiors to the obligatory yet harrowing spacewalk sequence. And while they may lack some depth, Penna doesn’t allow his characters to turn into stale predictable types. They’re just four people using their know-how to navigate a hopeless situation while fighting to keep their moral integrity in tact. “Stowaway” premieres today (April 22nd) on Netflix.

VERDICT – 4 STARS

First Glance: “The Man in the Hat”

April 21, 2021 by Keith Garlington

There is a simple yet infectious charm all throughout the trailer for the upcoming road trip dramedy “The Man in the Hat”. The film opened last fall in the UK and marks the directorial debut for British composer Stephen Warbeck. It’s finally making its way to the States and there’s so much to love about the smile-inducing new trailer – good music, the gorgeous French countryside, the always dependable Ciarán Hinds. I’m in.

We don’t get a lot of information about the story other than a man (played by Hinds) quickly packing up a suitcase, grabbing a photo of an unnamed woman, and puttering off in his 70s-ish Fiat 500. What follows are clips of beautiful scenery, several encounters with a variety of interesting locals, and a mysterious woman who keeps popping up wherever he goes. There’s no dialogue, just Hinds seeing things with a wide-eyed sense of wonder. And I can’t shake the wonderful Jacques Tati/Monsieur Hulot vibe.

“The Man in the Hat” releases May 14th in select theaters and on VOD. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

RETRO REVIEW: “The Prestige” (2006)

April 21, 2021 by Keith Garlington

It has been nearly 15 years since Christopher Nolan blew our minds with his period psychological thriller “The Prestige”. For those who haven’t seen it, a quick glance at the synopsis won’t really do the film justice. Yes, it’s about two rival magicians duking it out in an escalating game of one-upmanship. But like every Nolan picture there is so much more simmering under the surface both intellectually and creatively. And as always Nolan’s storytelling is both challenging and absorbing.

Set in late Victorian London, Nolan starts his story (which he co-wrote with his brother Jonathan) by hinting at its end – a magic trick gone bad, a murder trial, a man’s life hanging in the balance. But we quickly learn “The Prestige” is a movie full of illusions and in it Nolan steadily drops pieces of information for us to pickup and process. They’re all aimed at giving both context and clarity to those early teases.

Photo Courtesy of Buena Vista Pictures

The story of aspiring magicians Robert Angier (Hugh Jackman) and Alfred Borden (Christian Borden) begins with the two men working as audience plants and stage hands for Milton the Magician (played by real-life illusionist Ricky Jay). Nolan favorite Michael Cane plays John Cutter, their mentor and the architect for Milton’s numerous stage devices. While doing a live water tank trick Angier’s wife Julia (Piper Perabo) drowns after Alfred tests a new knot when tying her up. Because of it, she’s unable to escape from the tank and Robert holds Alfred responsible.

The two become bitter rivals, both professionally and personally. Even as their individual careers begin to take off, neither can shake their obsession with the other. The animosity really amps up once Alfred unveils his masterpiece, a trick he calls The Transported Man. Audiences are amazed and a jealous Robert is consumed with figuring out Alfred’s secret regardless of the cost. If it takes ruining his relationship with his new stage assistant Olivia (Scarlet Johansson), so be it. Even if it takes spending gobs of money going to America to meet eccentric scientist Nikola Tesla (a fantastic David Bowie).

What starts as a rivalry quickly festers into deceit and betrayal. Those caught in the middle of their feud are little more than collateral damage. Whether it’s Olivia or even worse Alfred’s wife Sarah (Rebecca Hall). Nolan digs deep into the ugliness of such obsession, yet both Alfred and Robert are still characters of complexity and nuance. And as the story uncoils in a wave of final act reveals, you realize that Nolan (as he always does) has more on his mind than it first seems.

Photo Courtesy of Buena Vista Pictures

The casting couldn’t be more in tune and it starts at the top with Jackman’s ambitious American and Bale’s cocky Cockney. Both actors really dig into the layers of their characters (and there are many of them), using their faults and virtues to paint two murky yet utterly fascinating portraits. Great performances from Johansson and Hall help color in the two men they’re caught between. And David Bowie is magnetic in a small but unforgettable role.

“The Prestige” came out right on the heels of Christopher Nolan’s first big budget blockbuster (2005’s “Batman Begins”). But it proved that he still knew how to tell a deep yet tightly focused story. And it still looks amazing, both the cinematography and production design. It could come out this weekend and easily pass for a current day movie, rivaling anything else out there. It’s yet another testament to Nolan’s greatness and diversity as a filmmaker and storyteller.

VERDICT – 4.5 STARS

First Glance: “Annette”

April 20, 2021 by Keith Garlington

I can’t remember the last time I had a reaction this mixed to a movie trailer. “Annette” has pieces that should put it near the tip-top of my ‘Most Anticipated’ list. Marion Cotillard and Adam Driver are among my very favorites and the idea of them together on screen is enough to sell almost any movie. On the other hand, the film is directed by Leos Carax whose last film was 2012’s “Holy Motors”. That film received near universal acclaim, but aside from a killer accordion jam, I found it to be eccentric to a fault and incredibly challenging to sit through.

The first trailer for “Annette” highlights the diverse acting chops of Cotillard and Driver as well as the wildly unconventional style of Carax. It leads to some cool images and shots of the two leads really going for it. The big question is how will it all come together? There’s no way I can pass it up, but I’ll be going in with fingers firmly crossed and hoping for something that connects with me much more than “Holy Motors” did.

“Annette” is opening the 2021 Cannes Film Festival on July 6th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.