The Boston Globe from Boston, Massachusetts • 27

C3 THE BOSTON GLOBE SATURDAY, NOVEMBER 22, 191)7 Movie Review Mark Morris takes on love, both comic and profound Mortal Kombat sequel is a bloodless 'Annihilation' By Michael Saunders GLOBE STAFF Ik 'f IS, Vvj in MORTAL KOMBAT: ANNIHILATION-" Directed by: John Leonetti Starring: Robin Stum, Talisa Soto, Brian Thompson, Sandra Hess Playing at: Copley, Circle, and suburbs Running time: 90 minutes Rated: PG-13 (violence) nament nine times running, and is looking for a 10th victory to launch plans for world domination. This new version, "Annihilation," tries to work in obtuse familial links between Rayden (James Remar) and Outworld capo Shao-Kahn (perennial muscle-bound bad dude Brian Thompson). Weakly, the script dances through a mom-daughter conflict between Kitana (Soto never seems to do much other than look' exotic in the role) and the banshee-voiced Sindel (Musetta The filmmakers tried to get com-, plicated and pay a price. The story, lines are obviously designed to link, the fight scenes, leading to moments of hilariously bad dialogue. The-ajty ing is uniformly over-the-top, with; each character quickly resolving ittcC a caricature.

The good guys are vgry good, the bad guys are very bad, -and; everything is easily sorted out ex-; cept for one predictable incident; of treachery. Although there is no blood; scenes of gory death, and no sexual content, the non-stop flying kicks and spinning elbow were enough to earn "Mortal Konv bat: Annihilation" a PG-13. But: toe-': video game is probably more violent and definitely more fun to A sanitized exercise in bloodlust, "Mortal Kombat: Annihilation" is scrupulously bloodless, both in its cartoonish depictions of martial arts violence and its pallid plot. There's not much to this sequel -not that anyone would ever confuse the 1995 original with "Mean Streets" but that's not likely to stop the legion of video game fans expected over the holiday weekend. What's the same? Robin Shou returns as the heroic Liu Kang, and Talisa Soto reprises her role as Ki-tana, his female counterpart.

There's a very good segment of computer-generated animation toward the end, and the special effects are reasonably good throughout. What's new? A few new characters and a new story make for some hard-to-follow moments. Sandra Hess plays tough-as-nails police detective Sonya Blade, taking over from Bridgette Wilson in the original. (There are sure to be massive geek-fest arguments over who is the better Blade.) Newcomer Lynn Red Williams is Jax, and those without lives to lead might remember him as Sabre on the "American Gladiators" TV show. The first "Mortal Kombat" worked by being simple and fairly true to the head-thwacking action of the video game.

The plot was elementary: Rayden, the benevolent god of hghtning, leads a team of mortal fighters into battle against the Outworld, the evil empire that has won a crucial martial-arts tour- Rtprlnfcd from lata Klltloni ol ytitordiy'i Globi. By Christine Temin GLOBE STAFF I In four dances, Mark Morris takes us from romantic love gone agonizingly wrong to love of God Dance at resu'ts raP" udiiie ture jjeavy mes. K6VICW sages on the program Morris brings to Boston this week, lightened, though, with sometimes comic choreography. one seemingly flat-out fun piece, "Lucky Charms," is the only one; set to a 20th-century score, Jacques Ibert's "Divertissement." It's also the evening's only non-vocal work unless you count the screeching of dancers who play cheerleaders gone altogether too cheery. (Morris's affinity with vocal music is so great you' feel that ideally, he'd like his dancers also to sing.) As he often does, Morris scrambles the sexes in "Lucky Kraig Patterson is a terrific vamp in his gold-sequinned top and tiny little white skirt.

All is not completely lucky and charmed, though: Occasional shadows fall across the almost relentlessly sunny scene. One dancer yanks another across the stage by the hair. Dancers roll across the floor, their energy spent. But you get only brief glimpses of this grim underside: Morris mostly offers a manic exuberance reinforced by the spangled costumes. It's cheerleaders and chorus lines, an affectionate spoof of Americana, with a whiff of Balanchine's "Stars and Stripes" tossed in.

The program's other three works are all set to 17th- or 18th-century scores, the kind of music most 20th-century choreographers tiptoe through timidly. Not Morris. Most choreographers ride the surface of early music because they don't know the depths. Morris does, and that frees him either to mirror or contradict it, and to choose which threads of the score to pluck out of its fabric for extra emphasis. So in "I Don't Want to Love," set to Monteverdi madrigals played and sung by The Artek Singers and 458 Strings, Morris shows not only a curlicued, courtly elegance, but rawness.

He mixes MARK MORRIS DANCE GROUP Presented by Dance Umbrella and the Wang Center At: The Shubert Theatre, Thursday night Program repeats Oirough tomorrow silken, seductive gestures with those that are anguished and abrupt. Leave it to Moms to make a dance about the torments of love for seven dancers: Coupling hasn't a prayer of succeeding, and, indeed, in the end Joe Bowie is left alone onstage. The happier moments in "I Don't Want to Love" are when the whole group indulges in childlike skittering and pretend-flying. They seem to relish the feel of their own bodies more than each other's. What duets there are don't involve much touching; when there is a lift, the man is hoisting dead weight.

Morris creates vivid images of unloved bodies: a deep backbend, hands clasped behind, is an emblem of want and vulnerability; an awkward tilt forward from the hips, with arms dangling hopelessly and helplessly, signifies woe appropriate to a dance whose lyrics begin "I wish not for loveso as not to sufferfor the soul-subject to love is engulfed in grief-consumed with bitter pain." Morris is a maker of group dances, not duets: "I Don't Want to Love" seems to say why. There's also his folk dance background, frequently cited as a reason he likes to use lots of dancers. "One Charming Night," set to Purcell songs, is an exception, a pas de deux danced Thursday night by Morris himself and Marianne Moore. On one level, this is Dracula meets Alice in Wonderland. It's often called Morris's "vampire dance," and does involve bloodsucking and sex: As he dives into her neck, his body heaves and thrusts.

But she chews right back, and, when she gets truly determined, she sticks to him like Velcro. At the end of a dance that gives Morris a chance to alternate opulent, baroque footwork and pogo-stick jumps, she alights on his back, in a flying pose, and off they run, leaving tantalizingly unclear who is victim and who is victor. Boston's Emmanuel Music, conducted by Craig Smith, played and sang the Vivaldi "Gloria," a pivotal piece that Morris made in 1981 and PHOTO ROBBIE JACK Morris mixes the seductive with the anguished and abrupt for everybody at the same time. Patterson goes through hell downstage as dancers pace matter-of-factly behind: Both modes are right there in the music; Morris just makes you see them. As momentum builds and mood lifts, dancers dive onto the floor to get a head start on that creeping toward their goal.

The spi-raling that has threaded through the piece reaches a climax as the dancers swoon to the stage down, but not out. reworked three years later. Here he shows the excruciating effort of faith and its payoff. Through part of the piece the dancers walk stiff-kneed, aims holding in their guts, or creep on their bellies, crablike. One will push at another's forehead, like a faith healer.

One falls backward into the wings, arms circling in a futile effort to stay upright. Another is shot out of the wings and thuds to the floor, bruised in body and spirit. Falling and rising stand for sin and redemption, and they don't happen i I I ifl Mk I I I Ik 1 IteSTsfW JdH -Tm-mmmmmm-mmMmSS; jMmOZ, ZYDECO GRILLE COME SEE BOSTON'S NEWEST MOST UNIQUE RESTAURANT. AUTHENTIC SOUTHERN BBQ, SEAFOOD, THE BEST CAJUN JAMBAYLAYA. ET0UFFEE THIS SIDE OF MASON DIXON LINE.

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AT THE DEC0 BOSTON DINNER THEATRE AT EXIT 35 OFF RTE. 128 IN WOBURN. PERFORMANCES ARE "NO SEX PLEASE, WE'RE BRITISH" Reprinted from late editions of yesterday's Globe. By Richard Dyer GLOBE STAFF Until Thursday night conductor James DePreist had not appeared with the Boston Symphony Orches- Music tra since a Tanglewood en- ReVieW gagement in 1973. The quality of his program and his performance made one wonder why.

There have been many occasions in the intervening years when the orchestra could have profited from his musical integrity. DePreist is the nephew of the great American contralto Marian Anderson, "The Lady From Philadelphia." More than once Thursday night one reflected that DePreist is a gentleman from the City of Brotherly Love, and that he must have grown up with the sound and manner of Eugene Ormandy's Philadelphia Orchestra in his ear. Today no conductor of Ormandy's generation and stature is more unfashionable, but his virtues were real and solid ones. Like Ormandy, DePreist does not conduct performances that are about himself or his "interpretation" of the music; instead he sets the music forth as directly and as honestly as he can. The second half of the program featured Brahms's Second Symphony.

Asked in an interview earlier this week why he had chosen this particular piece, DePreist simply replied, "Because I love it." That showed in his leisurely, observant, warmhearted performance. At times the BSO's sound even took on the fabled old-time Philadelphia glow, although there were some bobbled attacks and uncertain intonation that brought us back to the here and now. The solo work by horn Richard Scoring and oboe Alfred Genovese was particularly praiseworthy. De-Preist's approach is traditional, which does not mean instead he reminds us of why generations of listeners have loved this music as much as he does. The first part of the program was investing.

Slonimskys Earbox" is BOSTON SYMPHONY ORCHESTRA James DePreist, guest conductor At: Symphony HaU Thursday night; repeats tonight and Tuesday a work John Adams composed last year on a joint commission from the Halle Orchestra in England and De-Preist's Oregon Symphony. It is also a tribute to the late Nicolas Slon-imsky, musician, lexicographer, and anecdotalist extraordinaire who died in 1995 at the age of 101. One of Slonimsks many fascinating projects was the "Thesaurus of Scales and Melodic Patterns," published in 1947, and Adams uses some of those scales and patterns as the basis and subject of his music, rather as John Harbison used a collection of "Commonly Used Chords" in an earlier work. One would hesitate to proclaim "Slonimsky's Earbox" as one of Adams's most important pieces, but it is ingeniously jigsawed, bril-. liantly scored, and highly effective.

JThere is a quiet moment before the race to the close that is really magical; the composer makes us stand lost in wonder at the sheer range of possibility that lies in the "earbox" of the basic materials of music. The performance was cheerful; one of DePreist's virtues is that he boasts a really steady beat The evening's soloist was cellist Lynn Harrell, another musician who grew up in a singer's family his father was the notable American baritone Mack Harrell. He played the Walton Cello Concerto, which was composed for Gregor Piatigorsky and the Boston Symphony 40 years ago. The piece has not been as popular as Walton's great concerto for viola and good concerto for violin; in order of merit, it lies somewhere between the other two. But there is real music in the first movement, remarkable both for depth of feeling and reticent expression, and the whole piece is orchestrated with imaginative precision.

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