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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.

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

The “most controversial game of 1993” as Electronic Gaming Monthly called it was created by Ed Boon and John Tobias for Midway (now NetherRealm Studios). Whereas Street Fighter II: the World Warrior went for a very Japanese and anime style, Mortal Kombat became infamous for its photorealistic models and blood-splattering violence. Early in its ten-month development Mortal Kombat was to star Belgian martial artist Jean-Claude Van Damme. Van Damme was in negotations with another company for a video game that eventually never materialized. Boon and Tobias parodied Van Damme with Johnny Cage, who does a split-groin punch as Van Damme famously did in Bloodsport (1988). Likewise had fellow action star Steven Seagal his own Genesis and SNES video game in production in 1993 with The Final Option. It was to be developed by Riedel Software Productions, Inc. and publisher TecMagik for an intended 1994 release before being inevitably pushed back to 1995 and subsequently cancelled. As these things tend to go Mortal Kombat was a smash hit in the arcades and led to a lucrative and enduring franchise popular to this day. The game’s over-the-top violence and the ensuing controversy and protests from parent groups led to the conception of the Entertainment Software Rating Board (ESRB) and its now-familiar rating system.

Mortal Kombat wasn’t the first video game to be adapted for the big-screen. Super Mario Bros. (1993), Double Dragon (1994), and Street Fighter (1994) all tanked at the box office for various reasons but more importantly because they fundamentally misunderstood their source material. In fact Jean-Claude Van Damme was offered the role of Johnny Cage but he declined it to star in Street Fighter (1994). Mortal Kombat was only the second feature for British director Paul W.S. Anderson. Anderson would later helm the science-fiction/horror romp Event Horizon (1997) as well as being the creative force behind the Resident Evil franchise (2002–2016) starring his wife Milla Jovovich. He also was responsible for Death Race (2008), a remake/prequel to Paul Bartel’s subversive Roger Corman produced shlock classic Death Race 2000 (1975) with David Carradine and a young Sylvester Stallone. Mortal Kombat spent three weeks at number one at the U.S. box office, netting $70 million domestically and over $122 million worldwide. Not bad for a silly fantasy retelling of the Bruce Lee martial arts classic Enter the Dragon (1973) on a modest $18 million budget. Anderson would do the same thing again, this time as producer, 11 years later (and only to a fraction of the success) with the lovably zany DOA: Dead Or Alive (2006) and Tekken (2009) following with even less fanfare and star power a few years down the line. Rare/Midway’s completely over-the-top Killer Instinct from 1994 remains curiously unadaptated.

Three martial artists from different walks of life are summoned to a tournament on a mysterious island somewhere in Asia. Liu Kang (Robin Shou) is a Shaolin monk on self-imposed exile in America. He's currently in the midst of a massive crisis of faith as he puts no stock in the long-held prophecy the temple elders insist he's irrevocably entwined with and the destiny he's bound to fulfill. Instead Kang is concerned more with avenging the slaying of his younger brother Chan (Steven Ho). Johnny Cage (Linden Ashby) is an egocentric action movie star whose detractors in the tabloid press write him off as a phony and he looks for any and every opportunity to prove them wrong. Sonya Blade (Bridgette Wilson-Sampras, as Bridgette Wilson) is a headstrong military officer in pursuit of fugitive Black Dragon cartel crimelord Kano (Trevor Goddard) who’s responsible for killing her partner. The three have been selected by the god of thunder Lord Raiden (Christopher Lambert) to defend Earthrealm in Mortal Kombat, the outcome of which will decide the fate of their own world. To ensure victory in Mortal Kombat shapeshifting sorcerer Shang Tsung (Cary-Hiroyuki Tagawa) has bend the wills of fallen Lin Kuei warrior Sub-Zero (François Petit), the wraith/revenant Scorpion (Chris Casamassa), and Reptile (Keith Cooke, as Keith H. Cooke) as well as current tournament Grand Champion, the four-armed Shokan warlord Goro (Kevin Michael Richardson, as Kevin Richardson). The trio find an unlikely ally in leatherclad member of nobility Kitana (Talisa Soto), the enslaved princess of Outworld.

Instead of a renowned high-profile action director as Yuen Woo-ping, Ching Siu-tung, or Corey Yuen Mortal Kombat has to content itself with Pat E. Johnson and Robin Shou. Granted, Shou worked his way up from the dregs of Hong Kong cinema through a number of action - and martial arts movies, most notably In the Line of Duty III (1988) with Cynthia Khan and Michiko Nishiwaki and Princess Madam (1989) from Godfrey Ho. Shou cut his teeth under directors as Phillip Ko Fei and Jing Wong and Mortal Kombat was his debut in the English-speaking world. That is discounting the Warin Hussein made-for-TV drama Forbidden Nights (1990) for a moment. Although superior to his Western counterparts Shou by and large showcases the exact same moves as when he started out in the late eighties. In its defense the action choreography (thankfully) gravitates more towards HK cinema than it does the other way around. Which doesn’t change the fact that the Pat E. Johnson routines tend to be clunky, slow-moving and rely heavily on quick cuts and rapid editing. The two duels choreographed by Shou (Johnny Cage-Scorpion and Liu Kang-Reptile) are much more graceful, balletic and fluent in comparison. These two fights alone evince that Shou’s time sharing the screen with Cynthia Khan, Moon Lee, and Yukari Oshima did indeed pay off. The “fight” between Liu Kang and Kitana (if it can be called that) isn’t so much a fight as it is foreplay. Sonya Blade fighting Kano early on is more of a brawl than anything else. The fights and action choreography have their own problems depending on who's directing. Initial screenings were found unsatisfactory by test audiences and more duels were demanded. As a result we, thankfully, were given the Liu Kang-Reptile duel.

Kevin Droney’s screenplay is often (and unjustly as far as we’re concerned) lambasted for its overt simplicity. We’ll concur that the three-act screenplay is economic in exposition and uses the rather formulaic backgrounds of the human kombatants for easily relatable stereotypical Hollywood character motivation. It acknowledges that the entire affair is preposterous and it sells those aspects wonderfully well through a barrage of snarky witticism and comedic one-liners from Christopher Lambert (visibly enjoying the sheer silliness of it all) and Linden Ashby. Some of the best lines come from the constant sparring between self-absorbed Johnny Cage and Sonya Blade. That this Mortal Kombat isn't going to feature any of the game's infamous bloody Fatalities becomes clear enough when Lord Raiden intones that "Mortal Kombat isn't about death, but life." One of the greatest strengths of Mortal Kombat is that it takes itself just seriously enough to sell the ridiculousness of the game’s premise. As a product of Western fantasy Droney manages to at least pay lipservice to Asian values as honor, tradition, filial piety, ancestor veneration, and the perennial quest for spiritual enlightenment. Mortal Kombat takes its sweet time setting up the premise and central characters too. It isn’t until 45 minutes in that Mortal Kombat moves into the actual titular matches. From that point onward the plot never gets in the way of the multitude of fights. A point of contention is Sonya’s complete change of character around the halfway mark, but it is at least excuseable as Blade recognizes Shang Tsung’s superiority – and what better motivation for a character than a captive love interest?

To say that the romantic subplot between Liu Kang and Kitana is far-fetched and unnecessary is one thing. Kitana as a character gets all but two lines of character outline and then disappears to the background as a muse or sage-like figure. That Soto has few lines isn’t without reason as Vampirella (1996) would amply evince. Character development and plot are fairly minimal and only serve to progress the characters from one fighting scene to the next. Shang Tsung is an intelligent villain who schemes to delay his inevitable confrontation with Liu Kang. It is not until his resources are depleted, and his enforcer destroyed, that he engages Kang in battle. Lambert is visibly having fun in the role of Raiden and he spouts his lines with a grin. Linden Ashby possesses the right amount of underplayed arrogance, and his cynical witticisms greatly sell Johnny Cage as a believeable character. Liu Kang (who everybody simply calls “Lou”) experiences the greatest character arc, probably to compensate for Kitana’s arc being something of an informed attribute at the best of times. It’s anybody’s guess why Kitana is allowed so much freedom of movement when she’s vital to Shang Tsung’s scheme succeeding. Had Tsung kept Kitana out of bounds Kang would’ve never emerged victorious and Earthrealm would’ve merged with Outworld without drawing the ire of the Elder Gods. Obviously in a video game adaptation there’s bound to be bigger and smaller plotholes. As beautiful of a woman as Talisa Soto is an actress she most definitely is not.

If there’s anything that Mortal Kombat benefits from it’s the location shooting in Thailand and production design that faithfully recreates many of the game’s most beloved locations and fighting arenas. Among the featured landmarks are the Wat Phra Si Sanphet temple where Shang Tsung kills Chan during the opening, the Wat Ratchaburana temple where Liu Kang first meets Lord Raiden and Wat Chaiwatthanaram that stands in for the Temple Of Light. Then there’s Phra Nang beach where the “fight” between Liu Kang and Kitana takes place. Railay Beach is used as entrance to Shang Tsung’s Island. Sub-Zero, Scorpion and Reptile are true to their videogame counterparts as far as costumes is concerned. Sonya Blade won’t be seen wearing her revealing military outfit and Kitana’s black leather bustier/dominatrix corset, husky voice and bedroom eyes should provide more than enough fetish/fantasy fuel for any redblooded male even if her attire isn’t her signature blue. Likewise won’t Kitana’s metallic double-fans be making an appearance until the sequel two years later. The production design is positively lavish including recreations of the Courtyard, The Hall of Statues, The Tower, and seen in passing are both The Pit and the Portal. Most of the visual effects and CGI are good for the budget, except maybe that Reptile’s CGI form clearly shows its age, a thing that wouldn’t improve with the sequel. With an 18 million (one million exclusively for the Goro animatronic) budget the arenas, production - and character designs, and costumes are faithful to the games from whence they came.

Mortal Kombat is probably a lot better than it has any reason to be. It’s self-aware enough to realize that it is no match for the likes of Fist Of Legend (1994) or Crouching Tiger Hidden Dragon (2000) and it aspires to be nothing more than 90 minutes of vapid, chopsocky fun. As an Enter the Dragon (1973) variation you could do far worse. Keith Cooke headlined the turgid Albert Pyun martial arts feature Heatseeker (1995) and the sequel Mortal Kombat: Annihilation (1997) helmed by cinematographer John R. Leonetti pretty much killed the franchise until Mortal Kombat: Rebirth (2010). With a soundtrack boasting everybody from Type O Negative, Fear Factory, and Napalm Death, to The Immortals, Traci Lords and Juno Reactor the Mortal Kombat soundtrack is a time-capsule for the nineties very much like Brainscan (1994) was. There's a peculiar aesthetic disconnect between the most controversial and violent fighting game of the day becoming a virtually bloodless affair through adaptation and Disneyfication. Mortal Kombat the movie is everything that Mortal Kombat the game wasn’t. Despite, or rather in spite of, that it somehow works. Mortal Kombat the movie understood the essence of Mortal Kombat the game. Nobody was coming into this expecting some kind of profound statement on the human condition. Nobody was aiming for some kind of cinematic high art. Mortal Kombat is fun, if you are prepared to meet it halfway. “Nothing in this world has prepared you for this.” For once the tagline was spot on.