task of bringing alive the perilous Outworld". Gene Siskel of the Chicago Tribune gave it a "thumbs up" rating on Siskel & Ebert, calling it "the only half-way decent video game movie [he] has ever seen" and "a lot of fun", saying he was positively surprised by its various high-quality production values, including the "often sensational" special effects, the exotic locations, and the cast of characters being "clearly drawn out of appealing types". Leonard Klady from Variety awarded the film a 3.5/5 stars, stating, "But where others have sunk in the mire of imitation, director Paul Anderson and writer Kevin Droney effect a viable balance between exquisitely choreographed action and ironic visual and verbal counterpoint". Kim Newman from Empire magazine said, "By the time the big, world-saving bout comes around, it's hard not to wish that Shung Tsu [sic] would settle the fate of mankind by asking Liu Kang what the capital of Venezuela is... rather than engaging him in yet another round of supernaturally assisted dirty fighting," with a final rating of 3 stars out of 5. Legacy and re-evaluation From the 1998 founding of Rotten Tomatoes until 2018, Mortal Kombat held the highest critical rating on the site of any video game adaptation. Critical re-evaluations have been mixed but mostly positive due to the well-crafted action sequences, the cast performances, and the exotic set designs, and the film now is considered a cult classic. The video game series itself would take cues from the movie in its lore, such as the need for a realm to win ten straight tournaments before it can invade another, and the retconning of Kano (originally a Japanese-American character) as Australian following Trevor Goddard's performance. A 2020 editorial that discusses the work of Paul WS Anderson on Rotten Tomatoes said of Mortal Kombat, "Critics were split at 47% on the Tomatometer, but audiences loved the electronic soundtrack, creative fight scenes, and diverse cast of committed actors who sacrificed multiple bruised ribs to bless us with some excellent brawls." The editorial attributed the film's box office success chiefly to its conscious playfulness, asserting that "Anderson and his talented crew knew what they were making, and they made it earnestly." Bloody Disgusting commented that "thanks to the kinetic speed in which the actors are moving, the high-octane music, and ironically, the movement of the camera, each fight is given ample feeling and aggression", particularly praising