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Mortal Kombat (2021) -
oh no
oh no
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Iro's Top 100 Movies v3.0
I really just want you all angry and confused the whole time.
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Mortal Kombat (2021)
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
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Mortal Kombat (2021)
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
Never occurred to me that a Mortal Kombat movie could be good, best one could hope for was SBIG.
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What additional special effects would Aguirre have needed to be a greater film than it already was? Herzog & crew made it by essentially doing everything the expedition they were "portraying" for real themselves, like this scene...
...where there's no visual trickery involved to make it merely look like there's a long, winding caravan of people coming down a mountain, because they actually are coming down a mountain; I mean, isn't that more than enough?
...where there's no visual trickery involved to make it merely look like there's a long, winding caravan of people coming down a mountain, because they actually are coming down a mountain; I mean, isn't that more than enough?
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Mortal Kombat (2021)
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
I wonder where all the great expectations came from, but the film doesn't deliver regardless of that. A combination of poorly made fights, stupid non-sense plot, and dull characters struggles to be even a mediocre game movie. At least the violence was there. That may even be a generous rating.
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Mortal Kombat (2021)
From my letterboxd:
The film is not without its virtues (gore, Taslim, Asano and Sanada predominantly) but it usually undercuts them by under-utilizing them while over-cutting the action and shifting focus to building bland characters and a franchise that may never come to fruition.*
I’m reminded of the episode in the Simpson’s in which Poochie is introduced to the Itchy and Scratchy show. They set up a fun premise (fireworks factory) then proceed to focus on Poochie with everyone asking “when are they getting to the fireworks factory???”
The fireworks factory is the Mortal Kombat tournament, saved for a later film. Cole Young is Poochie.*
The result is a tedious film made by committee and group testing that lacks the slapdash charm of the goofy original or even the hilarious unintentional comedy of Annihilation. Instead, it’s one of the worst things a movie can be: offensively bland.
From my letterboxd:
The film is not without its virtues (gore, Taslim, Asano and Sanada predominantly) but it usually undercuts them by under-utilizing them while over-cutting the action and shifting focus to building bland characters and a franchise that may never come to fruition.*
I’m reminded of the episode in the Simpson’s in which Poochie is introduced to the Itchy and Scratchy show. They set up a fun premise (fireworks factory) then proceed to focus on Poochie with everyone asking “when are they getting to the fireworks factory???”
The fireworks factory is the Mortal Kombat tournament, saved for a later film. Cole Young is Poochie.*
The result is a tedious film made by committee and group testing that lacks the slapdash charm of the goofy original or even the hilarious unintentional comedy of Annihilation. Instead, it’s one of the worst things a movie can be: offensively bland.
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Annihilation, 2018 (A)
Outstanding movie. The plot centers around a team of scientists heading into a shimmering zone that appeared three years prior, and from which no one has ever come out.
From the moment the Shimmer is mentionned, you can't help but think of Stalker. This movie has sort of that vibe, but in a vastly more esotheric fashion. The visuals, and the audio in some parts, saturate the senses in places where Stalker is almost entirely mundane. It's hard to pick up on a theme through all this, just having watched it, but even on a surface level this is just great.
It's slow, but feels shorter than it is. Every scene brings something to the whole.
Outstanding movie. The plot centers around a team of scientists heading into a shimmering zone that appeared three years prior, and from which no one has ever come out.
From the moment the Shimmer is mentionned, you can't help but think of Stalker. This movie has sort of that vibe, but in a vastly more esotheric fashion. The visuals, and the audio in some parts, saturate the senses in places where Stalker is almost entirely mundane. It's hard to pick up on a theme through all this, just having watched it, but even on a surface level this is just great.
It's slow, but feels shorter than it is. Every scene brings something to the whole.
WARNING: spoilers below
This is the movie where they burn this poor dude alive, put him in a car to make it look like an accident, and when investigators get there they find he isn't dead yet, isn't it? I'll never forget that scene with his screaming - and his ordeal isn't over. A most unfortunate fellow!
Annihilation, 2018 (A)
Outstanding movie. The plot centers around a team of scientists heading into a shimmering zone that appeared three years prior, and from which no one has ever come out.
From the moment the Shimmer is mentionned, you can't help but think of Stalker. This movie has sort of that vibe, but in a vastly more esotheric fashion. The visuals, and the audio in some parts, saturate the senses in places where Stalker is almost entirely mundane. It's hard to pick up on a theme through all this, just having watched it, but even on a surface level this is just great.
It's slow, but feels shorter than it is. Every scene brings something to the whole.
Outstanding movie. The plot centers around a team of scientists heading into a shimmering zone that appeared three years prior, and from which no one has ever come out.
From the moment the Shimmer is mentionned, you can't help but think of Stalker. This movie has sort of that vibe, but in a vastly more esotheric fashion. The visuals, and the audio in some parts, saturate the senses in places where Stalker is almost entirely mundane. It's hard to pick up on a theme through all this, just having watched it, but even on a surface level this is just great.
It's slow, but feels shorter than it is. Every scene brings something to the whole.
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The Fallen Idol - This 1948 erudite mystery thriller has an impressive pedigree with a screenplay by Graham Greene and directed by Carol Reed. They would reteam a year later on the peerless classic, The Third Man. And yet despite that pedigree I was still surprised by how quickly it pulled me in. The subject matter certainly didn't give any indication with it's unique focus on character study over straight up melodrama.
A young boy, Phillipe (Bobby Henrey), the neglected son of a diplomat and living in the French Embassy in London bonds with the household butler, Mr. Baines (Ralph Richardson). Also in their employ is his wife, the shrewish Mrs. Baines (Sonia Dresdel). It's made clear from the outset that the Baines' marriage is not a happy one and Mr. Baines has sought a modicum of solace elsewhere in the form of Julie (Michèle Morgan), a young typist also employed at the embassy. One day Phillipe follows Baines to a cafe where he is surreptitiously meeting Julie and is inextricably caught up in their "secret". And it's from this agreement between the boy and the man he idolizes that the movie branches out to explore themes of loyalty and betrayal and the prism through which children view the world.
This is one of those movies that can serve as a a reminder as to why you love film. Ralph Richardson turns in such a marvelous and intrinsic performance that it's hard to nail down how he's doing it. It's best just to sit back and enjoy it. And the rest of the cast provide capable support especially young Bobby Henrey in his first role. I don't know if this can be considered a hidden treasure but if you haven't seen it yet you should.
The Social Dilemma (2020)
Good Lord almighty! It would be saddening to contemplate that anyone who has seen this revealing shocking documentary would ever return to frequent use (or any use at all) of Facebook, Twitter, Instagram, Google, YouTube, and any other widespread social networking platform.
The average user believes that, while these big tech corporations harvest their user's activity so as to more cunningly target them with advertising, they don't see much harm in that, so they put it out of their minds. Many understand that, "If it's for free, then YOU are the product", and all that.
But in fact these nefarious all-seeing, all-knowing, unregulated tech giants are increasingly figuring out and plying brutally efficient ways to influence the user's opinions, and to control their user's thoughts.
10 or 12 high placed former employees of the social media behemoths, along with experts in AI, virtual reality, communications, algorithms, and psychology effectively lay out how the public is being addicted, lead and brainwashed to do the network's bidding. It's going way beyond selling advertising.
The most affected are Gen Z'ers and beyond, but millennials, Boomers, and even seniors are not immune. The more time one spends each day on their Android or I-phone, the more one is completely surreptitiously being controlled. I personally have never used social media because I always believed it to be idiotic and dangerous. But yet every time I've clicked on a YouTube video, or ordered an item through Amazon, it has contributed to a cyber dossier which plots and digests my movements in order to use them in attempts to manipulate me.
I remarked to my wife that this documentary should be shown in every public school so as to reveal to the younger generations what is being foisted upon them. My wife said, "It wouldn't make any difference. They don't care." That's a sad thought, and it's likely true. I came to the sad realization that when people have become accustomed to the surveillance state, when caution is bred out of them, that is likely the last remaining step toward totalitarianism, socialism.
Encouragingly people from both the left and right are starting to ring the alarm bells. The big tech companies have become de facto governments, with no one but themselves to chart their courses. They will never police themselves. Despite my libertarian leanings it seems to me that the only way to stop this secret population control is through governmental fines and regulation both at the state and federal levels. These cyber behemoths must be limited in their attempts to control and profit from the unaware public. Transparent competition should be allowed and encouraged to flourish. Government has broken up far less harmful entities in the past. It's now past time to thoroughly scrutinize the social media giants.
Doc's rating: 9/10
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The Fallen Idol - This 1948 erudite mystery thriller has an impressive pedigree with a screenplay by Graham Greene and directed by Carol Reed. They would reteam a year later on the peerless classic, The Third Man. And yet despite that pedigree I was still surprised by how quickly it pulled me in. The subject matter certainly didn't give any indication with it's unique focus on character study over straight up melodrama.
A young boy, Phillipe (Bobby Henrey), the neglected son of a diplomat and living in the French Embassy in London bonds with the household butler, Mr. Baines (Ralph Richardson). Also in their employ is his wife, the shrewish Mrs. Baines (Sonia Dresdel). It's made clear from the outset that the Baines' marriage is not a happy one and Mr. Baines has sought a modicum of solace elsewhere in the form of Julie (Michèle Morgan), a young typist also employed at the embassy. One day Phillipe follows Baines to a cafe where he is surreptitiously meeting Julie and is inextricably caught up in their "secret". And it's from this agreement between the boy and the man he idolizes that the movie branches out to explore themes of loyalty and betrayal and the prism through which children view the world.
This is one of those movies that can serve as a a reminder as to why you love film. Ralph Richardson turns in such a marvelous and intrinsic performance that it's hard to nail down how he's doing it. It's best just to sit back and enjoy it. And the rest of the cast provide capable support especially young Bobby Henrey in his first role. I don't know if this can be considered a hidden treasure but if you haven't seen it yet you should.
A young boy, Phillipe (Bobby Henrey), the neglected son of a diplomat and living in the French Embassy in London bonds with the household butler, Mr. Baines (Ralph Richardson). Also in their employ is his wife, the shrewish Mrs. Baines (Sonia Dresdel). It's made clear from the outset that the Baines' marriage is not a happy one and Mr. Baines has sought a modicum of solace elsewhere in the form of Julie (Michèle Morgan), a young typist also employed at the embassy. One day Phillipe follows Baines to a cafe where he is surreptitiously meeting Julie and is inextricably caught up in their "secret". And it's from this agreement between the boy and the man he idolizes that the movie branches out to explore themes of loyalty and betrayal and the prism through which children view the world.
This is one of those movies that can serve as a a reminder as to why you love film. Ralph Richardson turns in such a marvelous and intrinsic performance that it's hard to nail down how he's doing it. It's best just to sit back and enjoy it. And the rest of the cast provide capable support especially young Bobby Henrey in his first role. I don't know if this can be considered a hidden treasure but if you haven't seen it yet you should.
The Fallen Idol (1948)
One of Carol Reed's finest, based on a short story by Graham Greene. Released a year before his masterpiece, The Third Man, Reed's penchant for mysterious street scenes and unusual camera angles are on full display in this captivating suspense drama.
There was a fine performance by Ralph Richardson as Mr. Baines, the butler, harassed by his nasty and dominating wife wonderfully acted by Sonia Dresdel. The young boy was played by Bobby Henrey, who was believable and well casted. His dialogue was written with a little too much nattering neediness, but the approach of moving along the plot primarily through his eyes draws the viewer into the drama.
There were excellent supporting roles by Michele Morgan as the mistress and Denis O'Dea as the chief inspector. The film won the BAFTA award that year for best picture.
Doc's rating: 8/10
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Nenette and Boni, 1996
After the death of his mother, Boni (Gregoire Colin) lives in her apartment. He spends much of his day fantasizing explicitly about the wife of the couple who employs him. One day, his younger sister Nenette (Alice Houri) arrives. She is pregnant, and as Noni helps her handle her situation, it brings up surprising emotions in both of them.
This was a film that, to me, was more impactful in certain key sequences than taken as a whole narrative. The story itself is clear enough, but it seems to me that the whole is not greater than the sum of its parts. Still, some of the elements were very good and I'm glad I watched the film.
The strength of the film, for me, was in the complicated relationship between Nenette and Boni and in Boni's unexpectedly strong feelings about whether or not Nenette keeps her baby (in either sense of the word, as both abortion and adoption are considered).
In terms of the relationship between the two, the film really leverages the uncomfortable intimacy between them--calling attention to the idea that these children are emerging as adults. It is intentionally awkward to watch. From the very first scene, in which Nenette arrives at the apartment to interrupt Boni mid-masturbation, to a sequence later in the film in which a partially-dressed Boni must pull a nude Nenette from a bathtub, the two characters exist in a very discomforting space between siblings and something more akin to a romantic couple. This is echoed in the scenes at the doctor's office, where Boni frequently pretends to be the father of Nenette's baby.
I also liked the way that Boni's emotions were portrayed. While I felt that the film ultimately landed in a place that didn't totally work for me, I did really appreciate the way that his feelings of maternal abandonment and sexual jealousy increasingly get projected onto his sister and her baby. I think that it is very true to life that when we are witness to someone else's experiences, it can sometimes evoke in us emotions that we didn't expect, even if we have never been through their experience. Boni himself doesn't seem to understand the triangle of agitation that he experiences, and as a result he becomes more and more irate.
I do wish that Nenette had been a bit more developed. Her experience of teenage pregnancy is fraught, frightening, and isolating. I felt that her slightly unfocused anger was well-portrayed, but I never felt that I got a window into her deeper self.
I'm debating how I felt about the whole subplot about Boni being infatuated with the baker's wife and the ultimate resolution of that subplot. While on the one hand the erotic obsession doesn't seem out of character (not only because of his age, but also because of the complicated way it intersects with the loss of his mother), it does use a lot of screen time. It does lead to one very funny sequence in which Boni kneads and rolls out pizza dough, all the while talking dirty to it. Something in this element of the film just doesn't seem like it's as strong as it could be.
I was mixed on the ending and the flow of the film overall, but I do think that the performances are strong and that there are several memorable and powerful sequences. I also think that most of the character arc with Boni is really interesting and well-drawn.
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