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Intentional cinematic self-awareness looks like the Fast and the Furious franchise, which spent 20 years getting its audience used to ever-more-outlandish heists, until sending cars into space seems as natural as a quarter-mile race. That’s exactly what the Mortal Kombat film reboot does best.
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Used to excess, self-awareness can just look like cheap fan service, on the level of “Rey Skywalker” or “What are we, some kind of suicide squad?” But at its best, it suggests that some creators recognize the limitations of narratives, and take the chance to play within their organic boundaries. A filmmaker’s knowing wink toward the audience can go a long way, particularly when an established property is in play. Self-awareness is a form of cinematic grace.