Mortal Kombat: Scorpion’s Revenge Gives Fans a Gory Good Time
Ever since the mid-’90s, the Mortal Kombat game franchise has seen multiple attempts to make it on the big screen, or at least adapted into other media.

Abhi, from his childhood, revels in the art of playing other people. His mother recognizes his extraordinary talent, propelling him into the world of acting. As he matures, he becomes a sought-after junior artist, always relegated to the background. The lines between reel and real life blur as Abhi faces a complex situation at home, with a supportive mother and a nagging and concerned father. A chance encounter with Likitha , the MD of a company, leads to love, and Abhi finds himself playing the role of a CEO. However, a conniving director presents an intriguing script, introducing Abhi to Nero, a self-absorbed and evil character with conquest on his mind.
Ever since the mid-’90s, the Mortal Kombat game franchise has seen multiple attempts to make it on the big screen, or at least adapted into other media.
The sequel to the 2021 remake of the same name continues from where we last left off in this spooky adventure.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
The Rocky Horror Picture Show not only supported Tim curry queer individuals who were closeted or harassed. It made people question their identity, orientation, and lifestyles that they never had before.
Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.