MORTAL KOMBAT Review

I don't know if it's due to going without movie theaters and therefore big-budget blockbusters for nearly a year, but between this and Godzilla vs. Kong it has been a pleasantly surprising return to the tentpole extravaganzas that had become almost too common to pre-pandemic life. That isn't to say 2021's Mortal Kombat is anything more than someone with the loftiest of expectations might hope it to be, but it's an assured piece of both filmmaking and storytelling that knows what it is, embraces everything about its own ridiculousness, and runs with all of it to the point it almost forces viewers to genuinely care about what is going on with this silly yet compelling multi-dimensional death battle. Of course, one's level of enjoyment with the film may come from their affection for the now iconic video games and its catch phrases that have made their way into the everyday lives of an entire generation. Some enjoyment (or complete distaste for, honestly) may come from the nostalgia-tinted glasses those who loved the nineties movie adaptations still wear, but even if you're an audience member with little to no brand recognition or fondness for the property what is both slightly unexpected but also an advantage to this new iterations success is that Greg Russo (his first feature) and Dave Callaham's (2014's Godzilla, Wonder Woman 1984, and the upcoming Shang-Chi) screenplay makes it an accessible adventure for anyone inclined to see what all the fighting is about. That is to say, Russo and Callaham build out the worlds Mortal Kombat encompasses in a simple and straightforward fashion that doesn't overwhelm the audience with too many levels nor does it dig too deep into the politics of the tournament itself, but instead takes what everyone loved about the games and puts them front and center: the characters. I'll backtrack slightly on this point as the film does introduce a new character into the Mortal Kombat mythos with its main protagonist Cole Young (Lewis Tan), but other than providing this surrogate who will take the audience through and into this universe the movie is otherwise all about bringing these characters viewers will recognize to life in what is ultimately fun and entertaining ways. Sans a pretty impressive opening sequence that admittedly sets the bar too high for the nonsense that follows, nothing about director Simon McQuoid's film is what one might label as "good", but almost everything about what it does in service of re-capturing that feeling of sitting in front of your cousin's tiny TV in their bedroom and mashing buttons in hopes it will result in a combination that will defeat said cousin in a bloody battle to the death is one thousand percent enjoyable.         

SILENCE Review

Silence is director Martin Scorsese's twenty-fourth narrative feature and one the auteur has been longing to make for quite some time. With that, Silence is a nearly three-hour epic that feels as if it has so much on its mind while at the same time not exactly conjuring much thought about anything other than what is physically presented. This is somewhat troubling considering Silence is a movie wholly about spirituality and the fact it isn't so much the traditions and exteriors of a religion or set of beliefs that matter, but whether the individual practices what their faith teaches daily while realizing how best to do so when that faith is inevitably tested. There is clearly a lot going on in Silence and much Scorsese seems to want to discuss, but the final product we've been delivered is so subtle about its deeper meanings and feelings around the people and subjects it is taking on that the viewer really has to reach into the depths of their attention to pull something substantial from the experience. One can counterpoint with the fact that Scorsese simply isn't spoon feeding viewers what he wants them to think and how he hopes they perceive his ponderings, but rather that he gives the facts of these "based on true life" events with limited shades of interpretation to allow the audience to have their own. This is fair. We have so many churches and/or places of worship these days due to the fact so many couldn't let their interpretations settle into an already established denomination, but this isn't the same kinds of conflicts of faith our characters in Silence struggle to comprehend. More, this a film about the thought process, the heart of the teachings Christianity and other religions preach, and how these intangible things define who we are as individuals and the role they play in determining the tone of humanity. There are no concrete definitions, no absolutes, no black or white, but instead Scorsese and co-writer Jay Cocks (Gangs of New York) have adapted Shûsaku Endô's 1966 novel into a meditative film that has the odd distinction of both being completely about what lies beneath the surface yet often times feels only surface level as far as impact and effectiveness are concerned. There is no denying that the film has layers upon layers from which numerous conversations can be elicited while featuring gorgeous photography, a couple of committed and rather brilliant performances, as well as some genuinely heart-wrenching moments that, depending on beliefs prior to seeing the film, will either reaffirm your faith or cast greater doubt than even before. For such factors alone, Silence is a staggering piece of work that should be commended, but on a basic level of raw emotional response the film didn't leave the lasting impression or transcendent experience great sermons hope to accomplish.

First Trailer for Martin Scorsese's SILENCE

After it being initially announced that the first trailer for auteur Martin Scorsese's long-gestating film Silence would premiere before showings of Allied on Tuesday night and online this Saturday things quickly snowballed into the trailer not playing before my screening of Allied to walking out of Allied only to find out the trailer had already debuted online. All of that said, the first trailer for Scorsese's passion project has finally debuted and it certainly promises a tale of vast epicness and deep explorations in the biggest, most complex of territories: religion. Based on the 1966 novel by Shusaku Endo and adapted for the screen by Jay Cocks (Gangs of New York) Silence follows two Jesuit priests who go looking for their mentor in 17th Century Japan, a time when outsiders, and especially Christians, were treated with disdain and mistrust. Scorsese is said to have been working on trying to adapt Endo's novel for some twenty-five plus years, but finally was able to move forward with the project at the beginning of last year after Fábrica de Cine and SharpSword Films agreed to produce and provide the financing for the $50 million picture with Paramount distributing the film in the U.S. While anything Scorsese does is naturally going to be of great interest to cinephiles the dierector has proved fairly bankable in his last few endeavors with Paramount releasing Shutter Island, Hugo, and The Wolf of Wall Street each to solid financial success and/or great rewards reception. Not counting Shutter Island, Scorsese's last five films have also scored Best Picture nominations and so the precedent is rather high for his latest, but if this trailer truly is any indication of the three hour opus the filmmaker has constructed we seem to be in for something special if not hugely insightful and maybe even influential. Silence stars Andrew Garfield, Adam Driver, Liam Neeson, Tadanobu Asano, Ciaran Hinds, Shin'ya Tsukamoto, and opens in limited release on December 23rd, 2016. 

THOR: THE DARK WORLD Review

In episode two of the Marvel adventures this year we are given the extended look at what was easily the riskiest piece of completing The Avengers. Thor is by and large a fantasy character with a fair amount of fun to offer and fortunately director Kenneth Branagh was able to elicit those shining qualities the first time around to assemble a Thor film that while not necessarily overly impressive offered a fine enough preliminary set-up for the Norse God that was able to find just the right tone to make him credible rather than the goofy, over-indulgent mess it could have easily turned into. I credited much of the success of things being done the best way they could on 2011's Thor to director Branagh and a cast that was more than capable of delivering lines about bifrösts and frost giants with Shakespearean prestige. All of this is still in tact in the much grander, more expensive and thankfully more ambitious sequel, but Branagh has been replaced by Game of Thrones-helmer Alan Taylor and there is a new threat in the world that will of course make cause for our titular hero to jump back into action. While I am completely enthralled with seeing films overlap and build on one another we have now reached a point in our culture where we are taking in these films with such rapid consumption that we don't give them the individual focus they sometimes deserve. We are excited to see Iron Man or Thor back on screen again, but more than that we are looking forward to what will come next that the current film might hint at. I touched on this briefly in my Ender's Game review, but it is all the more relevant in the Marvel universe. The reason this has become a problem is that while these are still trying to be individual stories there isn't enough of a connection from film to film besides short mentions or familiar character pop-ups here and there. That and the fact these films aren't willing to commit to any tragedy they allow the audience to assume has occurred. Director Taylor and his film are not to blame for this issue as Thor: The Dark World is a more than worthy sequel and is generally a lot of fun to watch, but it also doesn't do much more than add evidence to the pile that Marvel is content with quantity over quality.

First Trailer for 47 RONIN

It is hard for me to get excited over fantasy films that look to rely heavily on special effects and have a hard rock soundtrack. It is even tougher to get excited when those kinds of films star Keanu Reeves. Yet, that is what we have here as the trailer for 47 Ronin has finally made its way online after having its initial release date pushed back over a year from last November to this Christmas. I don't know if that is a good or bad sign, but it could certainly show Universal has some kind of faith in the project as it could have been extra time to perfect those countless CGI shots and decided to go with a prime Christmas Day slot instead of the early February release it was going to get when last November didn't work out. Of course, it could also be due to the fact the studio sunk an estimated $170 million into the project and hired first time feature director Carl Rinsch to helm the project that they are only placing it in the company of more prestigious projects with hopes of better recouping the films budget at the box office. I can't help but feel this is on a one way street to join the likes of Jack the Giant Slayer and The Lone Ranger as some of this years biggest bombs though. Their is nothing that stands out in this trailer and the always laughable delivery of Reeves makes the whole thing seem more a parody of what it is actually trying to be. On the bright side it does seem to have a rather epic scale and the story of the real-life group of samurai in 18th-century Japan who avenge the murder of their master could be intriguing with the added supernatural elements. I'll definitely reserve judgement and hope for the best, but after hearing of all the issues plaguing the project I was hoping for a little something more than what this generic trailer offers. The film also stars Tadanobu Asano, Hiroyuki Sanada, Kô Shibasaki, and Rinko Kikuchi. 47 Ronin opens in 3D on December 25th. Hit the jump to check out the trailer.