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Plot: martial artists from all over the world compete in tournament on remote island

There are two kinds of American martial arts movies. Those that came before The Matrix (1999) and those that came after. The former are brutish slogs where the fights more resemble brawls with sluggish choreography and no sense of rhythm and pacing. Often times the fights in these movies tend to be heavily cut and edited because the actors in question have no formal background in martial arts. Even when the performers had a background in the arts (such as Jean-Claude Van Damme, Steven Seagal, or Olivier Gruner) western martial arts movies tend to be rather slow relying far more on blunt power than on technical expertise. The latter more Asian inclined variants are far more elegant, acrobatic, and fast-moving with professional combatants engaging in elaborate hand-to-hand and weapon-based action routines. DOA: Dead Or Alive thankfully leans more towards the Asian variant and is about as ridiculous as it is entertaining.

DOA: Dead Or Alive (hereafter DOA) has something of a bad rep. Undeservedly as far as we’re concerned. As a western, English-language martial arts movie there are far worse offenders. DOA takes the Mortal Kombat (1995) template and adds a healthy dose of Hong Kong action choreography and wire-fu to spice things up. DOA is what Street Fighter (1994) should have been. DOA was produced by Paul W.S. Anderson on an estimated budget of $21 million with Corey Yuen directing and Devon Aoki, Jaime Pressly, Holly Valance, Natassia Malthe, and Sarah Carter starring. Perhaps Anderson was hoping to capture lightning a second time the way he did with his Mortal Kombat (1995) some eleven years earlier. Unfortunately DOA made only around $7.5 million - just over a third of its budget - at the box office; and all intended sequels in the new franchise were summarily scrapped. It wouldn’t be until Tekken (2010) before another fighting game came to the big screen. Alas, Rare/Midway’s cartoonishly over-the-top Killer Instinct from 1994 remains without a much-overdue Hollywood treatment for reasons unknown.

Based on the Japanese video game series created by Tomonobu Itagaki for Tecmo DOA is a more or less faithful recreation of the plot from 1999’s Dead Or Alive 2. It features all the beloved characters in their signature costumes and as a bonus of sorts there’s an extended segment dedicated to its legendary 2003 spinoff Dead or Alive Xtreme Beach Volleyball for good measure. There couldn’t be anything more typically Japanese than Dead or Alive Xtreme Beach Volleyball where the player plays and interacts with giggling babes with oversized oppai in miniscule candy-colored bikinis. It’s fanservice taken to the ultimate extreme. It’s a thing that could only come from Japan where the near-transactional adoration and adulation of prepubescent - and adolescent girls as Idols (gravure and otherwise) has spawned a booming and very lucrative (multi-billion yen annually) otaku industry. DOA has the babes, the pastel-colored bikinis, and the volleyball. The oppai on the other hand are rather modest. In fact DOA barely scratches the surface on that end. Otherwise it is a fun martial arts romp with some lovably zany production design.

Four martial artists from different walks of life are invited to partake in a clandestine 4-day tournament somewhere in Asia. Princess Kasumi (Devon Aoki) is a kunoichi that leaves her colony to look for her brother Hayate (Collin Chou Siu-Lung). Following her are Ryu Hayabusa (Kane Kosugi) and her half-sister Ayane (Natassia Malthe), the former as her security detail and the latter on a mission to kill the Princess for disgracing her clan. Tina Armstrong (Jaime Pressly) - whose wardrobe seems to exclusively consist of a Union Jack bikini and a very short pair of blue jeans – sees it as a springboard to prove her legitimacy as a fighter and that she’s not the phony she’s often accused of being. Tagging along is her father Bass Armstrong (Kevin Nash). Christie Allen (Holly Valance) is a British master thief and assassin who not only has her eye on the $10 million price money but also on an alleged treasure hidden somewhere on the island. Along with her partner Maximillian Marsh (Matthew Marsden) the two accept the invitation. Lastly, Helena Douglas (Sarah Carter) is the daughter of the original DOA tournament organiser and the object of affection of DOA tech head Weatherby (Steve Howey). Douglas is distrustful of Dr. Victor Donovan (Eric Roberts) who now runs DOA.

The two American name-stars of DOA are Devon Aoki and Jaime Pressly. Aoki started as a model in music videos from Duran Duran, Primal Scream, Ludacris and Genuwine. Naturally that led Devon to an acting career with semi-memorable turns in 2 Fast 2 Furious (2003), D.E.B.S. (2004) and Sin City (2005). Jaime Pressly also started as a model but soon carved out a career in low-brow comedies, thrillers, and the occassional horror with Poison Ivy: The New Seduction (1997), Can't Hardly Wait (1998), Not Another Teen Movie (2001), and Demon Island (2002). Less known but not any less popular was Australian actress Holly Valance who began her career in the soap opera Neighbours (from whence Kylie Minogue, Jason Donovan, and Natalie Imbruglia came) but didn’t flirt with the mainstream until the new millennium. In 2002 she released the hit single ‘Kiss Kiss’, an English reworking of the 1997 original Tarkan hit single ‘Şımarık’, from her debut album “Footprints”. As far as millennial dance-pop went Valance was a rival for the likes of Rachel Stevens and Gabriella Cilmi.

Compared to her peers Canadian television actress Sarah Carter was a relative nobody with only a supporting part in Final Destination 2 (2003) to her name. Natassia Malthe (one of the many victims of predatory producer Harvey Weinstein) was in Disturbing Behavior (1998), Halloween: Resurrection (2002), Elektra (2005) and via BloodRayne II: Deliverance (2007), Alone in the Dark II (2008) and BloodRayne: The Third Reich (2011) now seems to dwell permanently in direct-to-video, low budget hell. Collin Chou Siu-Lung is primarily known in the Western hemisphere for his roles as Seraph in The Matrix Reloaded (2003) and The Matrix Revolutions (2003) as well as the Jade Warlord in The Forbidden Kingdom (2008). Around these parts he's remembered for the Mainland China action romps Angel Warriors (2013) and Ameera (2014) from the Film Bureau. Eric Roberts, of course, is the old school professional who has been acting since 1964. DOA was shortly before his career revival with Christopher Nolan’s The Dark Knight (2008) and Sylvester Stallone’s all-star 80s action throwback The Expendables (2010).

There was more than enough fanservice in terms of costumes in the Dead Or Alive series and even moreso in its Xtreme Beach Volleyball parallel franchise. DOA takes its sweet time relishing in all the beautiful women that frequently populate the screen. It’s the kind of fanservice that's never exploitative. The two most obvious instances are the introduction of the four leads and the friendly volleyball match in the second act. Where else are you going to see Holly Valance in nothing but a towel laying waste to some faceless goons before putting her lingerie back on? The original scene had Valance topless when she came out of the shower and fully nude during the actual fight. To secure a PG-13 rating the scene was censored in post-production. Then there’s Jaime Pressly in a tiny bikini meting out punishment to a group of pirates while adrift at sea, the pirate leader who is none other than Robin Shou from Mortal Kombat (1995). The beach volleyball segment contains enough ass – and chest shots to satiate anybody’s cravings while the actual bouncing is fairly minimal. As much as Xtreme Beach Volleyball revolutionized jiggle physics those hoping to see Chinese belles as Zhu Ke Er, Yang Ke, Mavis Pan Shuang-Shuang, Liu Zhimin, Daniella Wang Li Danni, Miki Zhang Yi-Gui, and Pan Chun Chun, or one of their 2006 equivalents, among the volleyball playing extras will be sorely disappointed. None such thing will be forthcoming.

The action direction and choreography from Guo Jian-Yong puts DOA leagues above Street Fighter (1994) and Mortal Kombat (1995). The various duels are hard-hitting, energetic and fast-paced with shorter or longer routines and wire-fu that capitalize maximally on the girls’ elegance and athleticism. Of course it would be folly to expect from Aoki, Pressly, Valance and Carter to match themselves with Angela Mao, Michelle Yeoh, Moon Lee, or Cynthia Khan. Director Corey Yuen was a veteran from the Peking Opera School and one of the members of The Seven Little Fortunes that also included Sammo Hung Kam-Bo, Jackie Chan, and Yuen Biao. Yuen was in the Tsui Hark fantasy wuxia Zu: The Warriors from the Magic Mountain (1983) and made a name for himself in North America through his films with Jet Li. He might not be as well-known in the western hemisphere as Yuen Woo-ping and Ching Siu-tung. Yuen Woo-ping will forever be associated with the Wachowski’s cyberpunk action classic The Matrix (1999) and Ching Siu-tung for his work on A Chinese Ghost Story (1987), Hero (2002), House of Flying Daggers (2004), as well as the Hindi superhero masalas Krrish (2006), and Krrish 3 (2013).

DOA is a guilty pleasure of the purest sort. It’s not the kind of movie you watch for the story in the first place. Holly Valance looks great in lingerie and in a bikini. Devon Aoaki can’t really act and Jaime Pressly is about the worst American stereotype imagineable. Sarah Carter looks really adorable and Eric Roberts visibly enjoys himself chewing scenery while surrounded by beautiful women. The orange-pink-purple production design is a feast to behold and that DOA occassionally mimics its videogame counterpart makes it all the more fun. That’s perhaps DOA’s greatest forté, it never takes itself too seriously. DOA knows that it’s rank pulp and what little plot there was is mere pretext to showcase the four leads in their signature costumes. As far as we’re concerned DOA is the StarCrash (1978) of Hollywood martial arts movies. DOA is all about fun and as a martial arts exercise it’s better than it has any reason to be. DOA’s bad rep is not unfounded but that doesn’t make it any less of an entertaining action romp for a lazy afternoon.

The reunion of classic New York death metal combo Suffocation has been one of mixed results. It is not without a sense of irony that the most traditional sounding album since 2002 is one with only two original members, one of whom due to economic considerations has minimized his involvement to that of a glorified recording musician more than anything else. A decade and a half into their reunion there’s only question that remains: is Suffocation still relevant to the very genre they helped pioneer and redefine in their original run? Fortunately, if “…Of the Dark Light” is anything to go by then, yes – somehow they are. As unbelievable as it may sound in light of the band’s more than dubious post-“Depise the Sun” output. Can “…Of the Dark Light” hold its own against the band’s classic Roadrunner output? No, but nobody is expecting these grizzled veterans to. Which is sort of the problem.

The strangely titled “…Of the Dark Light” arrives after a turbulent four-year period of inner turmoil and personnel changes that saw the departure of lead guitarist Guy Marchais (hired to substitute for the absent Doug Cerrito) and troubled skinsman Dave Culross. Supplanting their more established predecessors are sometime Pyrexia and Internal Bleeding guitarist Charlie Errigo and Ontario, Canada-based drummer Eric Morotti. Errigo is a suitable replacement for Marchais, but the absence of original creative force Cerrito (whose advanced arthritis no longer allows him to play guitar for extended periods of time) remains a sore point, and rightly so. Morotti is no Mike Smith but nobody is expecting him to be. Instead he leans closer to Doug Bohn’s hardcore-informed style on “Pierced From Within”.

That “…Of the Dark Light” then comes across as a modern day “Pierced From Within” equivalent should surprise exactly no one. There’s very little ornamental about this new album and it’s reassuring to see the New York stalwarts reclaim at least a fraction, however insignificant, of the identity they worked so hard to distance themselves from in the early 2000s. Granted, it took them four albums and a second, less than amicable ousting of drum god Mike Smith to arrive at that point, but they are finally here. Had “…Of the Dark Light” followed on the back of “Souls to Deny” than Suffocation would have made a more than admirable comeback. Unfortunately that’s not quite how it went. To go from the lethargic and largely forgettable “Blood Oath” to something as punchy and compact as this speaks of a veritable meeting of minds. Suffocation, even though there are hardly any prime era members left, acquits itself admirably after passing itself off as a thinly-veiled beatdown hardcore band for well over a decade.

None of the songtitles do particularly inspire confidence as the majority sound nothing like vintage Suffocation (‘The Warmth Within the Dark’, ‘Your Last Breaths’, ‘Caught Between Two Worlds’, ‘Some Things Should Be Left Alone’) and from a visual standpoint “…Of the Dark Light” is anything but typical. The uncharacteristic songtitles makes one question the level of Mullen’s involvement. The days of Dan Seagrave or Hiro Takahashi artworks are apparently over. The album features guest vocals from Kevin Mueller, Mullen’s live substitute, in what is probably a remnant of the failed experiment that saw Disgorge drummer Ricky Myers briefly co-fronting the band. Boyer’s bass guitar never sounded better as it at long last sounds tonally similar as to when Chris Richards handled the low end. Charlie Errigo has quietly replaced Guy Marchais, and he very much continues what Marchais excelled at; providing a fairly indistinct and inobtrusive support layer for Hobbs’ guitar pyrotechnics. The title track, usually the tour de force of any album, sounds like every other well-budgeted New York death metal band. Whether or not that is actually a good thing is entirely up to one’s personal preference. At least Suffocation’s reunion output has been more consistent than Obituary’s. Not that that is saying much.

It goes without saying that Suffocation never again will reach the height of compositional elegance and technical prowess that they had on “Breeding the Spawn”. “…Of the Dark Light” at long last abandons the beatdown hardcore aesthetics that plagued much of the band’s post-2002 output and Suffocation - however little is actually left of it at this point - is so much better for it. Mullen, no longer the guntoting New York stereotype from the not-quite-so-distant past, wields a deeper register once more. Has he sounded better and more lively? Certainly. Has the production work done him more justice in earlier days? Not a shred of doubt about it. Frank Mullen, who has been subject to imitation and emulation for about two decades and counting at this point, remains a frontman that few can match in enunciation and delivery. Terrance Hobbs, Suffocation’s primary songsmith in the post-Cerrito era, rekindles some of his old magic on “…Of the Dark Light”. While it can hardly be called a revival this late into the reunion Suffocation reclaims at least a figment of the glory they once commanded.

“…Of the Dark Light” is the closest the New York formation has come to matching its classic tenure on Roadrunner Records. However this new recording isn’t without its shortcomings. The production from Joe Cincotta and his Full Force Studio is probably the driest, the most compressed and sterile sounding that this band has utilized thus far. Likewise is the Colin Marks artwork the most charateristically uncharacteristic. It largely is a stylistic continuation of the Raymond Swanland canvas of the prior effort. As the visuals pull the band into the 21st century its key members gravitate back to what established them two decades prior in the first place. Evolution through attrition, so to speak. Mullen and Hobbs may be the only real Suffocation members left, at least there’s something, however little, defensible about “…Of the Dark Light”. The same couldn’t be said about the drab preceeding this 11th hour return-to-form, if it can be called that.