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    Movie Review

    Bloody & brutal Mortal Kombat gets back to video game series basics

    Alex Bentley
    Apr 23, 2021 | 10:49 am
    Bloody & brutal Mortal Kombat gets back to video game series basics
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    When the original Mortal Kombat film came out in 1995, it was among the first wave of movies based on video games, coming just three years after the game itself debuted in arcades in 1992. Like virtually every other video game adaptation since, it was much derided for its laughable plot, dialogue, and, most importantly, action.

    Twenty-six years later, not much has changed in the reboot of the franchise except one key thing that lines it up much better with the aesthetic of the video game series. In this Mortal Kombat, the central figure is MMA fighter Cole Young (Lewis Tan), who is initially unaware that he shares a heritage with the great Hanzo Hasashi (Hiroyuki Sanada), an 1800s era Japanese warrior whose family is slaughtered in a brutal opening sequence.

    As always in the series, the plot pits fighters from Earthrealm versus those from the Outworld, which is ruled by Emperor Shang Tsung (Chin Hun). As we learn – but don’t see – Outworld has defeated Earthrealm in nine straight tournaments, and one more win means they will rule for good. It’s up to Cole and the other fighters he meets along the way to prevent the worst from happening.

    Directed by Simon McQuoid and written by Greg Russo and Dave Callaham, the filmmakers earn points by at least attempting to have a comprehensible plot. That’s not to say that they’re successful; after a decent start, the film quickly does away with any story nonsense to make it all about the fighting, all the time. But the bare minimum of giving Cole a family and laying out some background of other characters lends some light emotion to the proceedings.

    Of course, the fighting is what most viewers will want to see, and the blood-spattered opening to the film makes it immediately clear that this is no PG-13 affair. The two ‘90s films were full of cheesy action scenes, so the intensity and graphic nature of the sequences in this film are a step up. And fans of the games will be happy to see that the finishing moves employed by the various characters are extremely gory, which at least gives a visceral sheen to the mostly inane combat.

    The film features many of the video game series’ favorite characters, including Sub-Zero (Joe Taslim), Sonya Blade (Jessica McNamee), Kano (Josh Lawson), Jax (Mehcad Brooks), Liu Kang (Ludi Lin), and Lord Raiden (Tadanobu Asano). All of them are showcased to some degree, although given the nature of the story, there are very few surprises and no real stakes for any of them.

    As the lead, Tan doesn’t do much to earn viewers’ attention. The character is not all that compelling, and Tan lacks the charm necessary to get people on his side. The two most successful actors are McNamee and Lawson, the former because she actually does possess some charisma, and the latter because his character is given free rein to be loud and profane. Everyone else relies on their fighting skills, CGI, or both to speak for their characters.

    This Mortal Kombat will not win any awards and has very little to hang on to if you care about plot. However, with the type of violence that fans of the series will love to see, it can at least claim that it’s no longer watering down the most famous aspect of the game on which it’s based.

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    Mortal Kombat is now playing in theaters and on HBO Max.

    Lewis Tan in Mortal Kombat.

    Lewis Tan in Mortal Kombat
    Photo by Mark Rogers
    Lewis Tan in Mortal Kombat.
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    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

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    The Christophers is now playing in theaters.

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