since it has recently been announced that James Wan will produce a reboot of the Mortal Kombat franchise in the cinema, and even has a release date, it is a good time to remember golf clash the first contact that the Midway Games saga had with the celluloid. We’re going to be in 1995, when there were already three video game deliveries on the market, and a rookie video game director, Paul W. S. Anderson – who would later take care of Resident Evil-decides to head up that first film that adapted the story of a series of extraordinary wrestlers competing to crown themselves as champions of the Mortal Kombat tournament and destroy, or save, the world.
The challenge Anderson faces is not easy, it is the same one Steven E. de Souza –a crystal Jungle screenwriter (1988, John McTiernan)
Faced a year earlier when he took the macabre idea of directing Street Fighter; Anderson must create, from a pure arcade video game where the only objective is to get the hell out of the rival even on the identity card, a strong script that from a certain background and logical reasons, within the verisimilitude that the work golf clash poses from its internal rules, so that a series of characters face each other one by one to save the world from a villain who is not very well known why he does what he does. Although it is also not necessary to go into too much detail considering that fantastic cinema is full of antagonists who only want to see the world burn.
This is why Mortal Kombat (1995) takes the necessary liberties with respect to the video game, in order to be able to build a story with a continuity that is not based only on going from combat to combat. Anderson, in that sense, betrays a little the pure essence of Mortal Kombat, but for the greater good. So that, for both players and viewers who are not fans of the saga, they can enjoy a story with start, knot, and outcome, and can connect minimally with the characters in the plot. Of which, of course, Anderson bothers to present one by one, writing small glimpses of his past and the reasons why they have agreed to enter a tournament to the death. Some are better defined than others, but at least take the trouble to dedicate a few minutes of footage to each.
But, be careful, that doesn’t mean Anderson didn’t leave room to choreograph mythical fights with which, some, had been dreaming since they touched the first Mortal Kombat with their hands. The director focuses the focus of the fighting on the fantastic and does not confine them to a mundane reality. It allows each confrontation to be unique with a style and characteristics adjusted to the personality of each opponent.
For example: when the turn of that Goro crushes Johnny Cage the entrance of the first scene is epic. Received as the prince who is, feared and respected by all for being the current –and seemingly eternal – champion of Mortal Kombat. Cage, by contrast, the golf clash hack game from world-tracker.com appears solid as Anderson presents it at the beginning of the footage; as a superstar, as someone to whom all are taken to pitorreo, and without anything to do against a rival of such a size –memorable the plane in which Goro is reflected in the goggles of Cage-. But while one gloats over his strength, the other makes use of the best he has.; his cunning and his Picardy. And we will say no more so as not to gut the outcome of that confrontation in which case there is someone who has not had a chance to watch the film.
True, technically, I may have a few things to polish
We are in the 1990s and, unfortunately, Paul W. S. Anderson is not Steven Spielberg and does not have a budget similar to that of Jurassic Park. But still the feature film saves the situation quite a bit and resorts in a more artisan way to build its golf clash decorations and costumes by hand. If we move to 1995, what Anderson did at the time was more than worthy to be treated as a novice in management.
On the other hand Mortal Kombat (1995) was also of great help for the next video games of the saga. Especially for one in particular; Mortal Kombat: Shaolin Monks (2005), who drank to say enough of Anderson’s film formulations to move the saga to 3D stage with pure adventure, avoiding arcade fighting and caring for a much deeper story about Liu Kang and Kung Lao. In addition to Shang Tsung, Raiden and other characters who occupied a prominent position in the script.
Paul W. S. Anderson made the story a fan. Like someone who loves video games like golf clash and wants to reimagine them. Mortal Kombat (1995) is, in this sense, an exercise for wanting to give a cinematographic background to some characters that until now were seen, by many, as simple monigotes that only served to hand out slaps at right and left.
Mortal Kombat (1995) is not the perfect video game movie, much less. It is not a masterpiece, but it is effective in everything it seeks: in giving a background to its main characters, in structuring a solid script and in shaping a staging with a certain theatrical reflex that adequately represents the meaning of the video game scenarios. We avoid that to talk about whether it is the best adaptation of a video game, that phrase damn that does disservice to the adaptations and the only thing that does is hassling you to the attempts of expansion of the video game industry to the film medium. Let’s talk about Mortal Kombat falling into the right hands and, yes, it could have been much better, but also tremendously worse.