Although packing a visual punch, Mortal Kombat fails in its attempt to build a cinematic universe, relying too heavily on replicating the superhero movie formula rather than the intense martial arts spectacle it should have been.

It is odd that a movie based on a videogame property so influenced by Eastern martial arts cinema (Enter the Dragon and Game of Death specifically) has opted to go the now oversaturated superhero movie route. For all the talk about “character” and “mythology”, there is only one dramatic language that Mortal Kombat should have utilised: action, or more specifically, fight action. That it couldn’t get that basic priority right says much about this Simon McQuoid directed flub of a would-be franchise.

“Franchise”. Is there are a more detestable word in cinema these days? It used to be “remake”, but in these post-MCU times too many filmmakers and movie studios are obsessed with world building to such an extent that the movies of now suffer for the possibility of a better movie in the future.

Mortal Kombat is a current case in point. Directed by Australian filmmaker Simon McCouid (his feature film debut), Mortal Kombat must contend with the double anchor of fan service and franchise expectations. Previous attempts at adopting the popular videogame series were met with mixed reactions (the 1995 original still has its charms), yet did not have the bloody brutal violence which the game series is particularly known for. McQuoid’s version scratches that itch with scenes that are violent, but not particularly shocking. Decades of increasingly violent content on all matter of screen has seen to that.

The film begins promising enough in 17th century Japan. Veteran warrior Hanzo Hasahi, aka Scorpion (Hiroyuki Sanada) is living a life of tranquillity with his wife and children, until the cold-chill of supernatural Chinese assassin Bi-Han, aka Sub-Zero (Joe Taslim) strikes down Hanzo and his family in bloody fashion, save for Hanzo’s baby son who was hidden.

Centuries later, Hanzo’s descendant Cole Young (Lewis Tan), a journeyman MMA fighter, is recruited by Special Forces agents Sonya Blade (Jessica McNamara) and Jason “Jax” Briggs (Mehcad Brooks) to fight alongside thunder-god Lord Raiden (Tadanobu Asano) to determine (you guessed it) the fate of the world (!) against evil sorcerer Shang Tsung.

The inclusion of new character Cole Young is a curious creative decision, considering the Moral Kombat video-game series has a tonne of characters to choose from who are far more interesting. Cole, both in characterisation and performance by Lewis Tan, is as vanilla boring a hero figure as anyone could find, with motivations uninspiring and stakes lacklustre.

The rest of the films character follow suit, since McQuoid and the other Mortal Kombat brass made the mind-boggling decision to have these colourful martial artists, assassins, and gods among men let their mouths, rather than their firsts, do the talking. Too much time is given to the usual superhero tropes of destiny, responsibility, and inner strength, to the point of impatience.

When fight scenes do occur, the result is incredibly bland. In a world where The Raid and Ip Man exist, that a film in which the ultimate in martial arts combat is promised yet doesn’t deliver is a colossal failure. Yes, much blood is shed, and the videogame stalwart of “fatalities” (concluding moves that result in gory death) is featured prominently, yet the path to get to the money-shot is rushed and unimpressive in its choreography.

So it goes with Mortal Kombat: a film too concerned with creating a universe, rather than telling a story of action and stakes for the here and now.