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Of all the fallen members from the short-lived “Stop At Nothing” line-up sometime Dying Fetus drummer, Midnight Video employee and former Wicked Woods Haunted Forest House operator Erik Sayenga has done the best for himself. Since his ousting from the Fetus in 2005 Sayenga has kept releasing music with Warthrone, his Virginia symfo death/black metal project that sees him handling rhythm guitars, drums, and vocals alongside his wife Kristel Dawn who provides keyboards and bass guitar. “Crown Of the Apocalypse” is only Warthrone’s second full length effort and the first to feature Sayenga in the position of frontman as Richard Johnson bade his farewell prior to the studio sessions. Compared vis-a-vis to “Venomassacre” from 2014 “Crown Of the Apocalypse” is superior on all fronts. Hell, even the artwork is decent this time around. This is the record that Dark Funeral’s “Where Shadows Forever Reign” should have been…

Which is more than you can say from the remainder of the “Stop At Nothing” line-up. Mike Kimball helped co-write “War Of Attrition” (the only real black page in the Fetus’ storied history) and the less said about Vince Matthews’ various projects the better. No, Sayenga has done good for himself all things considered. Kristel’s association comes from Virginia-based death/black metal combo Witch-Hunt (which Warthrone is a spiritual continuation of) that released their sole album “Soul Enshrouded Fire” in 2000. It came brandishing unintentionally hilarious gothic horror cover art that it makes you wonder why it was never distributed internationally by Napalm Records, who were infamous at the time for their so-called Breast Brigade artworks from designer Tor Søreide and photographer Petter Hegre. We were on the fence about Warthrone when we initially were introduced to them with “Venomassacre” and pretty much completely forgot about them until “Crown Of the Apocalypse” turned up in our social media feed. The few years between releases have worked wonders for Warthrone, it seems. They have heeded the critics and honed their assault accordingly.

Warthrone might not be the most novel thing around, but at least it knows what it wants to be and how to get there. Instead of the symfo black metal atmosphere they no doubt were aiming for “Crown Of the Apocalypse” exudes clinical modern death metal vibes, mostly of the Myrkskog kind. There’s just something about Warthrone that screams “Superior Massacre” or records of similar predilection. There’s a lot of things you can say about a band like Warthrone, but the long and short of it is that the whole black metal aspect is fairly negligible all things considered. Before anything else “Crown Of the Apocalypse” is death metal, plain and simple. And with Sayenga’s resumé, did anyone truly expect anything else? Erik and Kristel sound positively devastating on their sophomore. Kristel’s keyboards felt unnecessary to say the least and somewhat amateurishly pasted over the music on “Venomassacre”. Here they are integral to the compositions without ever becoming a dominant force or portentously overbearing.

Sayenga and his wife always had a penchant for Halloween and dressing up. In the promotional pictures accompanying the release Sayenga and his wife can be seen sporting post-apocalyptic/medieval garb that looks as if it came straight out of a budget-starved 1980s Filipino (Cirio H. Santiago would be proud) or Italian post-nuke movie. Not that you’d expect anything else from the former proprietor of Wicked Woods Haunted Forest House. Horror houses - especially in deep religiously diseased and red Southern states where they serve to keep the gullible, the uneducated, and the superstitious subservient and thus the larger Chrisian constituency in line – after all are big business in America. The epilepsy-inducing music video for ‘The Blood Of the Prophets’ is an atrocity of epic proportions and makes Immortal’s ‘Call Of the Wintermoon’, Hecate Enthroned’s ‘An Ode for a Haunted Wood’, and Unholy Ghost’s ‘Under Existence’ look as paragons of unbound professionalism and restraint in comparison. They’re clearly very devoted to their specific artistic vision. That has to count for something too.

The merits of a death metal record are judged by the quality of its production values and Warthrone has improved in leaps and bounds on that front since their first outing. “Venomassacre”, while a decent enough record, was marred by the typical defects of a home-recorded affair. “Crown Of the Apocalypse” is also home-recorded but sounds notably more professional in the way it was recorded and mixed. It would behoof any band, irrespective of the genre they play, to record in a professional studio environment but that increasingly appears to be a dying practice in underground metal. It makes you wonder what Warthrone could sound like if they ever decided to record at Nightsky Studios in Waldorf, Maryland instead of the comfort of their home. The artwork by Santiago Francisco Jaramillo for Triple Seis Design is something you’d expect from a Marcelo Vasco, Daniel Valeriani, or Gyula Havancsák. It looks like something you’d expect to see on a Horncrowned album, or bands of similar persuasion. Also partaking on the record are renowned British singer Sarah Jezebel Deva, Egyptian-American artist Nader Sadek, and Kim Dylla, of Kylla Custom Rock Wear, who for a short time performed as Vulvatron in GWAR.

Any way you slice it, “Crown Of the Apocalypse” is a vast improvement over their debut. We’re far more interested in high-quality playthrough videos or dedicated drum cam recordings from Erik’s home studio. There’s always additional streams of revenue to be mined if they know where to look. If Warthrone does insist on making more music videos it’s perhaps advisable for them to gather the necessary funds and hire somebody like David Brodsky, Kevin Custer, Rick Carmona, Darren Doane, or Chris João. Music videos, at least in terms of underground metal and niche music markets, are something of a dying breed ever since streaming services have made DVDs and televised music programs increasingly, if not entirely, redundant. No. “Crown Of the Apocalypse” shows that there’s tons of potential that is yet untapped. If Warthrone manage to cultivate that potential by the time the next album rolls around and accompany it with a professional music video or two they might just make a big enough splash and break themselves to a larger audience. It never hurts to have a goal…

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.