The Huckleberries Vol. 21 - Star Wars: The Mandalorian and Grogu & Mortal Kombat II

     Obviously we want to have an area for reviewing new films here at The Film Encomium, but we want to send a message with our methodology. That message is a simple one: Don’t forget about the fun. 

Yes, film can be transformative, prophetic, and groundbreaking. It can also be none of those things and still be a damn good time, and we want to validate both of those experiences. If you are looking for pioneering work in science fiction, we recommend the works of Fritz Lang; but if you want to become well-rounded, you should still burn through a Saturday afternoon with an adaptation in the capable hands of Paul W. S. Anderson. 

It is from the balance of Tom Sawyer and Huck Finn that we draw inspiration for the title of this section. Tom is clever; Tom is great. If there were one of those boys we were going to try to get into Harvard, it would be young Mr. Sawyer…but he will always need his Huckleberry. 

We all need our Huckleberries. Art needs its Huckleberries. Sometimes beauty is in the little things and reasoned reflection. Other times beauty is loud, bright, and bold. In the interest of providing our readers with a comprehensive experience, we are not willing to skip The Huckleberries. 

So, with that in mind, here are two exceptional flicks that dropped in theaters recently. The first will pass the torch on an iconic tale. The second will FINISH YOU. Enjoy!

Star Wars: The Mandalorian and Grogu -

Multiple viewings of The Mandalorian and Grogu were required in order to really narrow down what made it so refreshing. After further analysis, our conclusion is this: The reason that this production works so well is that it is the first film that has ever been able to exist within the Star Wars universe without treading upon the origins of its central storyline. That vocal minority within the fandom that simply has blanket disgust for all creative output we have received while the galaxy far, far away is under Disney’s ownership? They really have no justifiable reason to see this movie at all, and that provides the creators a canvas as fresh as any this franchise has ever seen. 

  Now, we have major ideological differences with the business practices and even the general existence of mega-corporations like The Walt Disney Company. However, the actual artistic environment they have created over the last couple of decades has been nothing short of spectacular, and the vast universes they have helped expand are the greatest boons that have ever been gifted to nerd kind. Marvel, Star Wars, and the other major properties under The Mouse’s jurisdiction have all seen a steady stream of consistent and frequently exceptional content—and we are tired of pretending they haven’t. 

Which may explain why this newest foray into the world first imagined by George Lucas half a century ago seems to be newly minted. That whole group of people who have been laboring under the delusion that they were being forced to watch something they aren’t enjoying, simply because it is tied into a beloved bit of nostalgia from their youth? Those individuals have no reason to “waste” their time on this film, they are finally free to go. 

A major reason for that is that Dave Filoni and Jon Favreau seem to have gone as far out of their way as possible to make sure no one can tie their feelings on the Original Trilogy to their feelings on Mandalorian and Grogu. Din Djarin did not exist in canon before this show. They bring Zeb Orrelios from Rebels to live-action for the first time. The Anzellans—a species that was first introduced to us via Babu Frik in The Rise of Skywalker—play a pivotal role. All of the Hutts included in the story were either introduced in this film itself or in The Book of Boba Fett. Even Martin Scorsese seemingly gives his stamp of approval; as he makes a cameo as Hugo Durant—an Ardennian cook who is presumably related to Rio Durant, who debuted in Solo: A Star Wars Story. 

The longest tenured named character to make an appearance is the asssassin Embo, who technically debuted in The Clone Wars before Disney took the helm, but definitely progressed to be a fan favorite under their direction. What that leaves us with is really the first untethered leap into the galaxy. It exists within the concept Lucas envisioned without tampering with it in any way. For generations, Star Wars fans have been quite literally BEGGING the various creative teams behind this franchise to move in this direction. It’s exhilarating to watch it finally come to fruition. 

Favreau and Filoni are a guiding light past the Dark Side. Pedro Pascal, Brendan Wayne, and Lateef Crowder were a cohesive team that brought Mando to life in the same manner James Earl Jones, Sebastian Shaw, and David Prowse did for Darth Vader decades ago. Ludwig Göransson is the Victor Wembanyama of film composers. The Mandalorian and Grogu? It’s a changing of the guard, but one that brings with it truly limitless potential for countless stories going forward. 

May the Force be with us all. 

Mortal Kombat II -

When Simon McQuoid and the folks at Warner Bros. first rebooted the Mortal Kombat series, they brought to life a version of this storyline that fans of the game have been desperately hoping for since the 90s. Adapting video games is not the easiest task to begin with, and those difficulties are only exacerbated when the source material in question is a fighting game. The key to overcoming those hurdles largely laid in one ingredient: Brutality. 

That 2021 iteration was reportedly teetering on the edge of an NC-17 rating, and it isn’t hard to see why, nor would it be surprising to learn that they also cut it close with this sequel. Mortal Kombat has always been beloved for its fatalities, and bringing those through in full force was one of the primary focuses for McQuoid and crew; a goal which they certainly accomplished. Longtime MK diehards were quick to note that they adored the film for its direct translation of the established fighting moves into the cinematography, and they have only ratcheted up that quality in the continuation.

Casual filmgoers may find the film poorly written, but the truth is that the characters are merely written in a way that aligns with their corresponding fighter in the games. A large majority of the main cast returns, along with several notable additions. None are more notable—or indeed more impactful to the course of the plot—than the introduction of Karl Urban as Johnny Cage. Both character and actor are considered absolute treasures amongst the nerdy masses, and combining those two entities into one being carries a lot of the weight in this production. Thankfully, he absolutely rocks it. 

Since this series’ first attempt at a sequel with 1997’s Mortal Kombat: Annihilation, there has been a cloud hanging over proceedings. You see, at its core, this has always been intended to be a somewhat silly presentation. The games are iconic precisely because they are able to mix that goofy, funny edge with a core that is absolutely bloodthirsty and homicidal. Annihilation did not grasp that balance, and it scared the creators away from that side of the conversation until now.

Mortal Kombat II understands the entire journey that enthusiasts of Mortal Kombat have gone on. It takes everything that works about the previous movie—particularly the loyal combat dynamics—and accentuated them. More importantly, it stopped leaning away from the humor. It is a reboot that is bold enough to take the necessary risks, and even more importantly it is an adapted work that well and truly grasps the wants and needs of its audience. 

If you don’t already have a preexisting disposition towards this material, it may not be worth your time. However, if you happen to already be a member of the fandom? GET OVER HERE!! 

~The Film Encomium~