Mortal Kombat (The Original)

Mortal Kombat (1995)

Runtime: 101 minutes

Directed by: Paul W.S. Anderson

Starring: Robin Shou, Linden Ashby, Brigitte Wilson-Sampras, Christopher Lambert, Talisa Soto, Cary-Hiroyuki Tagawa

From: New Line Cinema

Yes, this is prep for me checking out Mortal Kombat II sometime in the next few days. I have played some of the games on console, put some quarters in the arcade machine, and saw the 2021 MK; a die-hard fan is not a category I belong in. That’s why this is a first-time viewing.

Even I can admit the threadbare plot, the CG which at least is funny-bad, and goofy moments shoehorned in. Filmmaking in general has changed so much in the three decades since release that I can praise PAUL W.S. ANDERSON for filming on real sets, lighting and using the proper color in scenes, editing, the filming of the action scenes, blocking, & visually stunning images, yet that’s the state we’re at now. Of course, filming in scenic Thailand was a feast for the eyes.

The 1995 Mortal Kombat is silly nonsense where the martial arts ain’t always spectacular-to say the least-yet to the film’s credit they still presented much of what the viewer wanted: the recognizable characters interacting with each other as they fight in a big tournament. The PG-13 rating is the big detail that will hang in the craw of many, although considering that as a kid I remember how HUGE the controversy was concerning the OOT gore of the fatalities in the game, not presenting those in the movie I reckon was the right decision for the time. Otherwise, they said “the lines” and featured trademark moments from each fighter.

It was always nice seeing the likes of Christopher Lambert (or CHRISTOPHE LAMBEAR, to present how his name is pronounced); arguably, Robin Shou and undoubtedly Cary-Hiroyuki Tagawa-a belated RIP to him-were the highlights. Also delightful was the period score and soundtrack, especially the techno theme that’s still iconic today.

Heaven knows the movie isn’t immune to valid criticism. At the same time, those that even have some familiarity w/ the property might be charmed by the film. Me, I can appreciate that the lead was a Pacific Rim Asian man born in Hong Kong, the statuesque Brigitte Wilson-Sampras did her own stunts, and Linden Ashby as the egotistical Johnny Cage learned practiced some martial arts disciplines for the part. I’m sure the movie looks even better when compared w/ Mortal Kombat: Annihilation…

 

Olivia

Olivia (1983)

Runtime: 82 minutes

Directed by: Ulli Lommel

Starring: Suzanna Love, Robert Walker, Jr., Jeff Winchester, Bibbe Hansen, Amy Robinson

From: Ambassador/New West

I was sold on this as “Ulli Lommel does De Palma” and that was the case. In the past I scoffed at Lommel as a director, due to how worthless his 21st century output was, according to popular opinion. However, the 1980’s-when he was married to DuPont heiress Suzanna Love-were a different story. I say it was her that made him not a bad director.

Like w/ De Palma, Olivia was obviously inspired by Hitchcock, only this was much sleazier than what Hitch was allowed to show. The opening scene is the titular Olivia (at the age of FIVE) viewing her prostitute mother in London through a keyhole-now, I know this is a director’s trope!-servicing her Johns, including an S&M creep that accidentally kills Mom during a sex game gone wrong. Fifteen years later, Olivia secretly walks the street herself as her husband is a pillock. There she meets Robert Walker, Jr.-which is hilarious casting-and has an affair.

In this sordid tale that also featured steamy explicit sex scenes, sexual assault and exhibitionism, would you believe that this is an alternate history where the old London Bridge was moved to Lake Havasu City, Arizona in the 80’s instead of 1971. You see, Walker is an American in London who was responsible for the relocation of the bridge instead of American entrepreneur Robert P. McCullough. The first half is set in London, the rest in Lake Havasu City. The Hitchcock references are that adult Olivia hears the voice of her dead Mummy and… well, I won’t spoil the obvious movie the film was “inspired” by, except that De Palma made his version before 1983.

Yes, the movie is improbable nonsense at best, even if it was evidently inspired by a Guy de Maupassant story not named in the flick’s Wiki article. No surprise that this was a movie released by Vinegar Syndrome in 2020 & was viewed on the esoteric streaming service Eternal Family. As odd as the story was, Olivia was still amusing trash that possessed dream-like vibes. I can’t rate this as highly as some-one issue is that the Hitch film this rips off is not one I love like everyone else does.

A rather unique quirk is that Olivia can open a bottle cap with just her teeth-sounds like a veiled reference to some sort of oral fixation to me! In any event, this product that also has giallo vibes was at least something different, whether it be at the time or now. Love was charming as the title character. The creepy score from Joel Goldsmith (yes, Jerry’s son) was an asset.

One final note: this did come out before the infamous 1985 TV movie Bridge Across Time, also involving the relocated London Bridge, and Jack the Ripper somehow resurrecting a century later, starring DAVID HASSELHOFF… no, not as Jack! Perhaps that will be viewed sometime in the far-flung future; even if bad, hopefully it’d be hysterically so.

Rage

Rage (1995)

Runtime: 95 minutes

Directed by: Joseph Merhi

Starring: Gary Daniels, Kenneth Tigar, Peter Jason, Fiona Hutchison, Mark Metcalf

From: PM Entertainment Group

My return to the world of PM Entertainment Group was LONG overdue, although not as long as my knowledge-thanks to a messageboard thread-that British martial artist turned actor Gary Daniels had a trilogy of worthwhile direct to video films in the 90’s: Rage, Recoil, and Riot. They share nothing in common aside from the star, studio, and titles starting with “R.”

The plot is hogwash concerning a right-wing militia, evil cops, and a corrupt tech company who experiment on illegal Mexican immigrants to create a “super soldier”-insert your own comments if you wish! “Limey” Daniels (portraying a 2nd grade teacher) becomes involved solely because one of the Mexicans carjacked him and he’s a ripped dude. There’s the hero, his friends, the villains, and a television reporter who is one of the few that believes our hero is innocent.

The plot and characters-even the one portrayed by Peter Jason for a few scenes-are as deep as a puddle but that’s irrelevant for B-movie fans. Daniels is a Man on the Run and this allows for an onslaught of action scenes. PM Entertainment Group focused on this aspect, specifically giving stuntmen & stunt coordinators steady work by presenting OOT beats where you swear that those stuntmen were maimed or killed on screen.

Rage featured: Defenestrations, more broken glass than in Another 48 Hrs., kicks, punches, gunfights, squibs, people hanging off helicopters, people hanging off of skyscrapers, explosions, a dominatrix (!) and two wild stunts. The first is an original Chevy Blazer corkscrewing in the air as it launched over a semi on its side as it explodes. Even more brain-melting is that when a school bus hits a tanker truck head-on, a stuntman standing on top of the truck is lit on fire and flies through the air, out of control!

The stunts are impressive even compared with what was seen in Hollywood at the time. Motion pictures like this are naturally only appealing to a niche audience-thankfully I’m part of that crowd. The finale’s setting of “90’s mall” is expressly pleasing for an Old Man like myself.

The Ghost of Frankenstein

The Ghost of Frankenstein (1942)

Runtime: 67 minutes

Directed by: Erle  C. Kenton

Starring: Cedric Hardwicke, Ralph Bellamy, Lionel Atwill, Lon Chaney, Jr., Bela Lugosi

From: Universal 

The Monster was Ygor’s Ride or Die…

For the first time since this past fall, I viewed a movie on the streaming channel Universal Monsters, which can be found on platforms like Pluto TV. In the past, I’ve viewed the third movie in Universal’s Frankenstein franchise (Son of Frankenstein) and the fifth (Frankenstein vs. The Wolf Man) so it was overdue for me to close the loop by checking out this, the fourth.

The people of the village are still miffed about the impact of Frankenstein and his son & all the trouble they’ve caused. His castle is destroyed but because circumstances, Ygor has been obsessed w/ the corpse of The Monster and it is suddenly revived. Conveniently, there is ANOTHER son of Henry Frankenstein that is a scientist; it does not take much cajoling to convince Ludwig Frankenstein-including a ghostly apparition from his late father-that The Monster needed a new brain; at least that’s a logical step to take in this universe.

Ghost is flawed and not as good as the first three in the franchise; nitpicks could be made, including the obvious inclusion of a little girl in an attempt to humanize The Monster. That said, the movie was still a good time between the cast, the sets, the mood, the atmosphere, the interesting musical score, and the love that Ygor has for The Monster, which isn’t necessarily reciprocated.

Lon Chaney, Jr. replaced Boris Karloff as The Monster; he was fine, but naturally wasn’t iconic in the role like the man whose shoes he attempted to fill. With the right expectations going in, you may also feel that The Ghost of Frankenstein is fine.

The Three Stooges Go Around the World in a Daze

The Three Stooges Go Around the World in a Daze (1963)

Runtime: 94 minutes

Directed by: Norman Maurer

Starring: The Three Stooges, Joan Freeman, & Jay Sheffield

From: Columbia

After a day off from reviewing cinema, I am now back in the saddle as I revisit a film watched both as a kid & as an adult. Moe Howard did pass away on May 4, 1975; while of course I tipped my cap to the Stooges often last year when viewing all 190 of their shorts at Columbia, it was a nice change of pace to view a comedy after the serious cinema witnessed the past week.

The film established a wacky conceit immediately: the implication is presented that Around the World in 80 Days from Jules Verne was a non-fictional account of Phileas Fogg accomplishing the task. Long story, but the detail to note is that a fraudster (who disguises himself by… wearing a goatee) wages the great-grandson of Fogg to accomplish the same task in a scheme to frame him for the crime of embezzling-again, long story. I’ve never read the novel but from Wiki, I know some details were retained, including The Reform Club and living a life to mathematical precision.

This time, Phileas Fogg III is required to make the trip “without spending even a farthing,” and his servants-the Stooges-volunteered to go on this trek w/ their boss. Through movie magic, those characters go around the world while the movie was filmed in California. Along the way, they meet Joan Freeman; in an interesting bit of trivia, the character has the same backstory as the actress: both are from Council Bluffs, Iowa.

The film can certainly be nitpicked; sometimes, Fogg III is said to be the great-great grandson, for some bizarre reason; how was this mistake left in? Some white people portray ethnic characters and there’s dated humor that is blatantly racist by 2026 standards. Be that as it may, I was still entertained by this nonsense. Some lines of dialogue and routines were “borrowed” from the Curly Howard era; that’s fine with me as they’re still funny.

To mention a random detail: there’s a sumo wrestling subplot when they’re in Japan; that wrestler… he was portrayed by pro wrestler Curtis Iaukea, who wrestled around the world way back when and was briefly a manager in 1980’s WWF and 1995 WCW.

For most viewers, they’ll prefer a traditional take on the legendary Wells novel. However, if you’re a Stooge fan, this effort from director/producer/writer Norman Mauer (Moe’s son-in-law) is well worth a look.

Who'll Stop the Rain

Who’ll Stop the Rain(1978)

Runtime: 126 minutes

Directed by: Karel Reisz

Starring: Nick Nolte, Tuesday Weld, Michael Moriarty, Anthony Zerbe, Richard Masur

From: United Artists

Viewing another downbeat 70’s thriller wasn’t in the cards… but I’ve known of this movie for awhile and when someone in a messageboard thread mentioned their viewing of the movie yesterday-they were a fan-and opined if anyone else had seen it, no better time to cross this off the list. I gave positive thoughts in my subsequent post, mentioning the positives I’ll list below. 

Turns out, running drugs for Michael Moriarty was a poor idea. He and Nick Nolte are in Vietnam for the war; Moriarty convinces Nolte to run a large shipment of smack to his wife Tuesday Weld back in California. Of course, when drugs are involved, what should have been simple turned out quite complicated & the duo of Nolte/Weld go into hiding as he attempts to get themselves out of that quagmire. If you’re reminded of True Romance, you’d be like me; I’ll just presume that Tarantino is a big fan of Who’ll Stop the Rain.

I won’t reveal much more of the plot-case anyone wants to be as surprised as I was by the events that transpired. The movie is downbeat even by 70’s standards & has a pace that may be seen as “too laconic” by some. Myself, I was riveted by the journey, the score, the cinematography-sections of the film take place outdoors, featuring stunning vistas-the characters… Weld’s Marge is addicted to pain pills, a sadly relevant plot point.

I was also happy to see other familiar faces (e.g. Richard Masur, Ray Sharkey, Anthony Zerbe). The main players did a swell job-Moriarty is a real-life lunatic but boy could he act. Nolte in the 70’s was quality, and like many, I wish Weld acted more often. In addition, the title does reference the Creedence Clearwater Revival song; the source material was a novel titled Dog Soldiers but that was changed for its United States release. Appropriately, that haunting song was heard on a few occasions-setting the proper mood for the film-along with two others from CCR, and random tunes from other genres. Turns out, country artist Hank Snow’s Golden Rocket is a rad tune.

There is an exciting action scene in the third act; otherwise, much of the movie’s a serious drama which might be too depressing, too laid-back for some. Myself, 70’s cinema can be quite intoxicating, its dark themes sometimes enveloping me. I wouldn’t want a steady diet of serious, somber pictures-especially if they had gut-punch endings like this did-yet once in awhile is quite satisfying.

The Man Who Knew Too Much (The Remake)

The Man Who Knew Too Much (1956)

Runtime: 120 minutes

Directed by: Alfred Hitchcock

Starring: James Stewart, Doris Day, Brenda de Banzie, Bernard Miles, Ralph Truman

From: Paramount

Que Sera, Sera

My second review of the day (after revisiting the original Man) is finally seeing the 50’s remake for the first time. I have the film on physical media & it’s been too long since any Hitchcock’s been tackled by me. I don’t even have to ask—some will be dismayed that this is my first Doris Day movie. Shame on me-in the far-flung future, more of her work will be seen.

The general plot is the same as in the 1934 movie: the young child of a married couple is kidnapped in a foreign country, the villains want to keep them quiet so an assassination plot isn’t revealed, etc. This time, James Stewart, Day, and their young boy Hank is in Marrakech, Morocco. That provided scenery unique even by 2026 standards. The other 60 or so percent of the movie is in London as Ol’ Jimmy attempts to crack the case.

If I was the insufferable CinemaSins type, some aspects could be nitpicked. However, I am not a turd so I’ll state that those nitpicks didn’t ruin the film. This is not the best from Hitch-mainly because he’s an all-timer who directed at least 6 films I’d put in the “great” category. No shame in this “just” being a very good cinematic experience. The villains here aren’t as memorable as Peter Lorre in ’34—otherwise, this was a nice improvement on that. The direction, the score from Bernard Herrmann, the setting, the cinematography, the VistaVision, the climactic scene featuring the attempted assassination-that was all aces.

Sure, there’s no hysterical chair-throwing brouhaha like in ’34 but there is a great, long scene without dialogue that features an operatic tune. Of course, Timothee Chalamet wouldn’t appreciate that song-in contrast, I did!

I was delighted to see something else from Hitchcock, see Doris Day for the first time, see a new delightful Jimmy Stewart performance, and develop an even further appreciation for what an incredible run Sir Alfred had from 1954 through 1963.