By Thomas H Cullen (UK)
Mortal Kombat: Annihilation is connected to all of Batman & Robin, Interview with the Vampire and the 2017 remake Ghost in the Shell. Like Batman & Robin, Annihilation is a movie which has been shamefully overlooked and demeaned throughout its history despite being intense good art. Like Interview with the Vampire, Annihilation is a movie which is about the supernatural – or just fantasy – being reduced to a target for the benefit of something else, and last but not least, Annihilation is like the 2017 adaptation Ghost in the Shell.
Both 2017’s Shell and Annihilation are films whose motif is correct to exist in the film, but the nature of the genre makes the discovery far harder than it should be.
The long and short of it: Mortal Kombat: Annihilation isn’t just a very sensuous and sexual film, but is a sequel which is preoccupied with sex and sensuality in a style which is highly intellectual.
The sequel puts the original heroes on the run, forced to deal with the fallout of different realms coming together. The first film’s tournament was won, and won fairly, but now that victory has been deemed null and void. Thus, the plot of Annihilation is a post-state of fairness being defunct.
In the grand scheme of things, it’ll be interesting to see if the motif lines up with the movie’s plot being about the redundancy of fairness. For now however, it’s pertinent to just focus on the motif itself.
In general, the through-line of Mortal Kombat: Annihilation seems to be a succession that begins with discovery and then culminates with sex, or sensuality. New settings, and new characters are the usual nature of the running time, but it’s bizarre since with each new setting, and with each new character being encountered a behaviour plays out that’s related to flirtation, or to allusions to lust.
To clarify things: Annihilation presents fantasy, but then succeeds that fantasy with lust. Lust gets treated as a victory over wonder, or over technical marvel. Why should this be the case? A marvel is a greatness, and therefore the ensuing logic is that Annihilation’s style is to advocate sex over greatness. On the surface of things, that is greatness – advocating sex over the concept of greatness is certainly intellectual.
The key to the mystery, it would seem, is to examine greatness. Greatness is victory, and victory is clash. Ergo, Annihilation’s morality is that sex and sensuality is better than being better.
Sex is enjoyment, and being better is enjoyment. So Annihilation’s moral concern is the conflict of loyalty when it comes to stimulation. Stimulation is a state of victory, and the film is an allegory of victory being separated from stimulation but without the experience of victory being lost. To make sure that is correct, let’s revisit the sequence.
Victory, which is then overthrown by stimulation. Victory overthrows itself, due to victory becoming stimulation – in order to overthrow victory, ergo hierarchy, the experience of victory has to become something which is enjoyable.
So in other words, Mortal Kombat: Annihilation is a film which advocates that sex and sensuality – or perhaps just sensuality – is the only reality which is pleasure.
Making the pleasure of sex into a sole greatness isn’t necessarily fair, but then again, the movie’s plot is about explicitly abusing fairness.
The theme is magnificent, regardless of its logic. As a consequence, Mortal Kombat: Annihilation is a type of film and a type of art which makes countless other movies into a complete and utter laughing stock.
Annihilation is a pure art, and better yet is a purity of purity having the double right to hide itself and yet support exposure.