Mortal Kombat (2021) review (Theatrical/HBO Max)

 

In 1992, Midway Games released a new arcade fighting game, Mortal Kombat. Created by Ed Boon and John Tobias, the game was originally set to be an adaptation of that year’s sci-fi action film Universal Soldier starring Jean-Claude Van Damme; but, when that idea ultimately went nowhere, it was transformed into a more fantastical fighting game defined by its incredibly graphic finishing moves known as ‘Fatalities’. And while those Fatalities ended up putting the game in some major hot water with certain crowds to the point where it was largely responsible for creating North America’s video game rating system, the ESRB, it also helped make Mortal Kombat an instant staple of both the arcade and home consoles once the game was adapted to the latter format. Since then, the series has spawned numerous follow-ups and spin-offs that have sold around 54 million copies worldwide, and in 1995, it was brought to the big screen courtesy of director Paul W.S. Anderson. Upon its release, the first Mortal Kombat film did incredibly well financially, and despite a generally mixed critical reception, mainly due to it being a heavily toned-down take on the series so that it could maintain a PG-13 rating, it was enough of a hit with fans that, even nowadays, it is still considered to be one of the better films based on a hit video game. However, the same can’t be said for its 1997 sequel, Mortal Kombat: Annihilation, which, despite boasting a budget nearly double the size of the original, somehow ended up being an all-around cheaper production that promptly killed any chances for a third installment.

Yes, because of how disastrous Annihilation turned out, a planned third installment spent several years stuck in development hell. It wasn’t until 2010 after Warner Bros purchased the franchise rights from Midway when the latter declared bankruptcy when this proposed threequel was finally shelved in favor of a full-on cinematic reboot. Originally, the project was set to be developed by director Kevin Tancharoen and writer Oren Uziel, who garnered a lot of attention that year when they made an eight-minute fan film, Mortal Kombat: Rebirth. The short proved to be such a big hit that Warner Bros and NetherRealm Studios granted Tancharoen the opportunity to make a web series based on the franchise, Mortal Kombat: Legacy, which ran for two seasons from 2011 to 2013. And while Tancharoen was then officially tapped to direct the reboot, he ultimately backed out of the production a month after Legacy’s conclusion. Thankfully, this wouldn’t be the end for the new Mortal Kombat film as James Wan (who, at the time, was steadily becoming one of the most prominent directors in the industry) signed on to produce it in 2015 with commercial director Simon McQuoid stepping in as its new director. And now, nearly two and a half decades after the franchise’s previous cinematic incarnation fizzled out, the new Mortal Kombat film is upon us and promises to be a far more faithful take on the franchise, especially due to its R-rating. As you might have guessed, this means that we finally get to witness the Mortal Kombat franchise’s infamous ‘fatalities’ in this all-around crowd-pleaser that may be far from perfect but still manages to deliver on some utterly satisfying fan service.

For the past several centuries, the fate of humanity has been dependent on the results of an intense tournament known as Mortal Kombat that involves warriors from Earth, AKA Earthrealm, and the dark and mysterious dimension known as Outworld. Unfortunately, for the people of Earthrealm, Outworld has won the last nine tournaments, and if they win the next one, said victory will allow the sinister sorcerer Shang Tsung (Chin Han) and his constituents the opportunity to conquer Earthrealm. Thus, with the threat of Shang Tsung’s wrath more prevalent than ever before, Lord Raiden (Tadanobu Asano), the god of Thunder and protector of Earthrealm, begins to assemble a varied collection of warriors, including Shaolin monk Liu Kang (Ludi Lin) and vicious mercenary Kano (Josh Lawson), to train for the tournament. Another notable recruit is Cole Young (Lewis Tan), an MMA fighter who learns that he has a significant connection to Hanzo Hasashi (Hiroyuki Sanada), a warrior from 17^th century Japan who was killed by one of Shang Tsung’s warriors, Bi-Han AKA Sub-Zero (Joe Taslim). As the Earthrealm crew soon discovers, however, Shang Tsung has no intent on playing fair as he unleashes his minions upon them to ensure that no one can get in the way of their conquest.

One of the first questions that I’m sure a lot of people have about this film is if it manages to deliver on Mortal Kombat’s trademark violence in ways that the 1995 film didn’t, and simply put, it does. Now, obviously, it doesn’t go ‘all out’ with its violence to avoid getting hit with the dreaded NC-17 rating (which means that it’s objectively less violent than the games themselves), but still, what’s there is presented in all its ridiculously messed-up glory thanks to the film’s excellent action sequences that, for the most part, help to make up for its narrative shortcomings. For one thing, given that this is clearly meant to be a ‘franchise starter’ film, it starts off on a bit of a slow note (not counting the excellent pre-title sequence that sets up the conflict between Hanzo Hasashi AKA Scorpion and Bi-Han AKA Sub-Zero, arguably the franchise’s most popular characters) in its efforts to set up the plot and the world of Mortal Kombat. It also doesn’t help that, when it comes to said plot and character development, it’s a lot of generically basic material, especially when it comes to the film’s main protagonist Cole Young, a film-exclusive character who’s mainly just your typical audience surrogate. Despite all this, however, it all comes together nicely in the film’s second half since that’s where all the best action sequences occur along with some great nods to the franchise, including a pitch-perfect utilization of the franchise’s iconic theme song, ‘Techno Syndrome’ by The Immortals. In short, it’s a lot like what happened with the first Avengers, which also had a basic plot and started off rather slow but then got going at just the right time to deliver on exactly what fans had come to see.   

When it comes to the previous live-action Mortal Kombat films, their casting efforts admittedly garnered mixed results. While the first film featured standout performances from the likes of Christopher Lambert as Raiden and Cary-Hiroyuki Tagawa as Shang Tsung, the rest of the cast could be hit or miss, which only proceeded to get worse with the sequel, Annihilation, especially since more than half of the main protagonists were recast. Thankfully, this isn’t the case with the 2021 reboot, which spawns a much better all-around ensemble. Despite what I said earlier about his character being a basic audience surrogate who is largely overshadowed by all the other classic Mortal Kombat characters, Lewis Tan does headline the film nicely as Cole Young. The same goes for Jessica McNamee in the lead female role of Sonya Blade, who gets a bit more to work with as her arc revolves around her efforts to prove herself since she’s not immediately tapped as one of Earthrealm’s heroes. Ultimately, though, the biggest standouts of the cast are its supporting players such as Ludi Lin and Max Huang as the duo of Liu Kang and Kung Lao and Josh Lawson, who’s a full-on comedic riot as the hilariously scummy Kano. And then there’s the duo of Sub-Zero and Scorpion who, despite their enduring popularity, were mostly underused in the original Mortal Kombat films. It’s a much different story in this film, though, with Joe Taslim being perfectly intimidating as Sub-Zero and Hiroyuki Sanada getting some of the best dramatic moments in the film even if Scorpion isn’t in it as much by comparison.    

I’ll be the first to admit that I don’t have much of a history with the Mortal Kombat games. In fact, to be perfectly honest, the build-up to this film’s release was the main reason why I’ve even started playing them recently since my only real experiences with the franchise beforehand was via the original films and the rare instances where I came across an MK game in an arcade. And when it comes to the latter, I do mean ‘rare’ since once I was old enough to legitimately show any kind of interest in the franchise, it was at a point where most arcades began to rely more on newer games rather than older ones. Nevertheless, I was well aware of the franchise during my teenaged years, which then led to me watching the undeniably flawed but largely entertaining 1995 film adaptation… and its infamously horrendous 1997 sequel. And now that I’ve seen this new one, I can safely say that 2021’s Mortal Kombat is the series’ best film adaptation yet and one of the best video game films ever made, even if the latter half of that statement isn’t saying much given most of the other films in the genre. Now, don’t get me wrong, it’s far from perfect; it takes a while to get going and is as basic as you can get from a narrative perspective. And yet, thanks to an awesome second half that gives us much of what has made this the smash hit of a franchise that it is, this is very much the snazzy and highly faithful big-budget cinematic take on Mortal Kombat that fans have been waiting to see for years. As such, I’m sure I’m not the only one who would love to see this get a sequel that, should it follow the example of the best parts of its predecessor, could be an even better showcase of everything that is MORTAL KOMBAT!!!

Rating: 4.5/5

Aquaman (2018) review

In 1941, writer Mort Weisinger and artist Paul Norris created the character of Aquaman, the king of the underwater kingdom of Atlantis with the ability to communicate with the various creatures of the sea. Over the next few decades, Aquaman’s role in the DC Comics universe began to grow significantly to the point where he became one of the seven founding members of the Justice League, and he has continued to be one of DC’s most prominent superheroes ever since. But as for his overall reception amongst audiences… well, that one’s a bit more complicated because, despite his long history in the world of comics, Aquaman has been deemed ‘a joke’ in the pop cultural zeitgeist for supposedly being nothing more than ‘the guy who talks to fish’. This was mainly brought on by the character’s roles in his titular animated series from 1967 and the Hanna-Barbera produced Super Friends series that ran from 1973 to 1986. And despite DC’s efforts to work around this image through various reboots and such, shows like Robot Chicken and The Big Bang Theory continue to enforce this long-standing view on DC’s aquatic superhero. As for getting the King of Atlantis on the big-screen, that journey has been just as bumpy. Simply put, it’s truly saying something when the most prominent on-screen appearance of Aquaman prior to 2016… was the in-universe feature film directed by James Cameron in HBO’s hit series Entourage where he was played by the series’ main protagonist Vincent Chase.

But things finally changed when DC began to develop its own cinematic universe a la Marvel. Game of Thrones alum Jason Momoa was cast in the role of Arthur Curry AKA Aquaman and made his first appearance in the DC Extended Universe via a cameo in 2016’s Batman v Superman: Dawn of Justice. There, he first appeared alongside Ezra Miller’s Flash and Ray Fisher’s Cyborg in a series of videos that Batman had uncovered (and were then subsequently viewed by Wonder Woman) from the files of Lex Luthor’s company LexCorp on their investigations into the presence of ‘metahumans’ AKA the franchise’s term for super-heroes. Momoa was then promoted to one of the lead roles in the 2017 follow-up Justice League, and while neither film fared very well with critics, Momoa did manage to work well alongside his co-stars. But now The King of the Seven Seas finally gets the chance to grace his own solo film with the sixth installment of the DC Extended Universe, Aquaman. Horror veteran James Wan steps in to direct a film that certainly has quite a lot of baggage behind it going in. For starters, like Wonder Woman, it finds itself tasked with getting the franchise back on track after the considerably disappointing critical and financial performance of Justice League. But, of course, as it’s been made clear in this intro, possibly its biggest hurdle is proving that one of the most widely-mocked superheroes of all-time can be taken seriously. And with strong visuals and a well-balanced tone and atmosphere, it can be argued that Wan did succeed in that regard.

Arthur Curry (Jason Momoa) was born as a child of two worlds. This became the case when his father Thomas (Temuera Morrison), a lighthouse keeper from Maine, rescued a woman from a violent storm in 1985. Little did he know that the woman, Atlanna (Nicole Kidman), is the queen of the underwater kingdom of Atlantis. And as she later tells their son Arthur, he’ll eventually grow up to become the one who will unite their two worlds. However, after she ends up leaving both him and his father to return to Atlantis, Arthur ends up ignoring his Atlantean heritage over the years as he becomes the legendary warrior of the sea, Aquaman. Eventually, though, Arthur finds himself having to finally face his destiny when Mera (Amber Heard), princess of the Atlantean kingdom of Xebel, comes to him and warns about his half-brother Orm (Patrick Wilson), the current ruler of Atlantis who plans on initiating a war against the surface world. Specifically, Orm seeks to gain the support of at least four of the other kingdoms of Atlantis so that he can have a grand army and be granted the title of ‘Ocean Master’. And when it becomes clear that Arthur isn’t exactly prepared to take down Orm with his mother’s trident as his only weapon, he and Mera end up on an adventure around the world to find the trident that belonged to King Atlan (Graham McTavish), the original king of Atlantis. Because as it’s established by Arthur’s mentor Nuidis Vulko (Willem Dafoe), Atlantis’ royal advisor, Atlan’s trident is Arthur’s only hope of reclaiming his birthright as the true king of Atlantis.

Aquaman is truly an ambitious entry in the superhero genre as far as its action set-pieces are concerned. This film is full of incredibly elaborate action sequences that feature everything from sweeping camera movements to some very impressive long-takes. And while quite a lot of these action sequences are filled to the brim with CGI creatures in what is usually an equally CG-based environment, the visual effects team clearly brought their A-game to this project. When these effects are combined with Don Burgess’ solid cinematography, it results in some of the most incredibly striking visuals to ever grace a superhero film. Plus, as was the case when the Russo brothers first started to direct MCU films or when Christopher Nolan went from Batman Begins to The Dark Knight, this film’s action sequences show the growth that James Wan has clearly made as an action director after his previous foray into the genre, 2015’s Furious 7. And as far as this film’s tone is concerned, those who were put off by the dour proceedings of Zack Snyder’s DCEU films will be pleased to know that this film is ultimately more in line with the much more successful Wonder Woman in that department. While it does treat the storyline of Aquaman uniting the kingdoms of Atlantis as seriously as possible, the film maintains a fun, light-hearted atmosphere throughout that harkens back to classics like the Indiana Jones films, especially during Arthur and Mera’s journey around the world to find King Atlan’s trident.  

From what I’ve gathered, it seems like Jason Momoa’s first major DCEU appearance in Justice League was decently well-received. Some may have been a bit turned off by Momoa giving the character a ‘surfer bro’ personality, but he managed to do his best with the limited material that he was given. Thankfully, though, as was the case with Gal Gadot when she got her own solo film as Wonder Woman, Momoa fares a lot better in his own solo film, as the character development that he didn’t get in Justice League is finally put in here with the conflict of him being a child of two worlds and how he ends up becoming the reluctant hero of Atlantis. All of this is handled very well and it’s clear that Momoa is having a lot more fun this time around as his comedic banter is much stronger here than it was in Justice League. In fact, it even gets to the point where the character’s controversial ‘surfer bro’ persona feels much more natural when compared to his previous appearances in the franchise. Amber Heard also thankfully gets a much more fruitful role here than she did in Justice League as Mera. In that film, she was a blank slate in what was literally her only scene in the damn film when Steppenwolf attacked Atlantis to collect one of the Mother Boxes. Here, she’s a confident, no-nonsense badass who is repeatedly shown to be much more adept than Arthur at practically everything while also getting a nice little arc in which their adventure allows her to gain a greater appreciation for the human world. And thanks to their characters’ strong back-and-forth dynamic, Heard and Momoa have excellent chemistry. They’re then backed by a solid supporting cast that includes Willem Dafoe as Arthur’s loyal mentor Nuidis Vulko, Nicole Kidman as Arthur’s mother Atlanna, whose role in the film is thankfully not just a brief cameo limited to flashbacks to Arthur’s youth, and Dolph Lundgren in another solid turn this year after Creed II as Mera’s father, King Nereus of Xebel.  

And then you have the film’s two main villains… who, sadly, are the weakest links in the film despite good performances from their respective actors. First, there’s Aquaman’s most famous enemy from the comics, mercenary David Kane AKA Black Manta (Yahya Abdul-Mateen II). And to the character’s credit, the film does set up Kane incredibly well, with his conflict with Aquaman ultimately defined by one gutsy move that Arthur makes during their first encounter that heavily affects Kane on an emotional level. After that, once Kane puts on his signature suit, it leads to one heck of a confrontation with Aquaman and Mera in what is easily one of the film’s best action sequences… a shame, then, that this is the only key scene in the film with him in the suit. In other words, if you’ve seen any of the trailers for this film, then you’ve seen the bulk of Black Manta’s role in it. Thus, the honor of being the film’s main antagonist instead goes to Aquaman’s half-brother Orm AKA the ‘Ocean Master’. Overall, James Wan regular Patrick Wilson is solid in the role even if it is just him spending most of the time unabashedly hamming it up. Plus, the rivalry that the two Atlantean siblings have due to their shared heritage does provide Orm with some decent character development. The issue with him, however, is that while he does have a more substantial role in the plot than Black Manta, said role still feels very limited due to the film focusing more on Aquaman and Mera. And because of this, Orm ends up being the kind of villain who talks a big game instead of legitimately having one.

Well, with a decent RT score and a box-office total that’s undoubtedly going to go past $1 billion soon, it’s clear that Aquaman has been one of the better-received installments of the DC Extended Universe. And while I wouldn’t necessarily call it the ‘best’ DCEU film to date, it’s still a very welcome breath of fresh air after the highly disappointing affair that was Justice League. Simply put, director James Wan does manage to succeed, for the most part, when it comes to taking one of the most widely mocked characters in pop culture history and giving him a film adaptation that treats him respectfully. After all, in a time where the superhero genre has given us films that feature talking raccoons and heroes who can shrink to the size of insects, I think it’s safe to say that the idea of an ocean-based superhero who talks to marine life isn’t such a ridiculous concept anymore. And his first solo film achieves this by being, to be perfectly blunt, the kind of film that Warner Bros. and DC should’ve been making all along instead of just trying to copy what Christopher Nolan did with the Dark Knight trilogy. Instead of an overly dark and dour drama a la Batman v Superman, Aquaman is a bright and colorful superhero epic with impressive visuals and action sequences that are paired nicely with a solid tone that skillfully balances effective drama with genre-friendly humor. And just like Wonder Woman, this film gives its title character (and his leading lady) the proper character development that they didn’t get in previous DCEU films where they were just one part of a larger ensemble. In short, if there’s one thing that films like Wonder Woman and Aquaman prove, it is that the DC Extended Universe is truly at its best when it isn’t trying to take itself so seriously.

Rating: 4.5/5

Furious 7 (2015) review

In some ways, it’s still hard to believe that the ‘Fast and Furious’ franchise has now been going on for more than a decade. At first, it was just a simple street-racing franchise that, while consistently commercially successful, never were big hits with critics. But then, to everyone’s surprise, it suddenly became one of the biggest film franchises in recent years. Having not been a ‘fan’ of the series in its early years, the fourth film, 2009’s ‘Fast and Furious’, was the one that first got me interested in the series, even though in retrospect I realize I’m kind of in the minority when it comes to liking that film. Ultimately though, the series really started to shine with the fifth entry, 2011’s ‘Fast Five’, the first entry in the series to, to everyone’s surprise, do really well with critics. There were many reasons for this upgrade in quality. There was the return of many of the series’ former leads, resulting in the series’ first true ‘ensemble’ cast. There was the overall shift in regards to the series’ plots from street-racing to heists. And of course, there was the very welcome addition of Dwayne ‘The Rock’ Johnson in the role of DSS agent Luke Hobbs. Just like that, the franchise became relevant again, soon followed by an equally awesome, and arguably better, follow-up in 2013 in the form of ‘Fast and Furious 6’, the first entry in the series that I was genuinely looking forward to. There’s no better way to say it; those last three movies made me a ‘F&F’ fan.

Now Dom and his crew (or, to use a more proper term, ‘family’) are back for the seventh entry (yes, seventh) of the ‘Fast and Furious’ franchise, ‘Furious 7’. This time, however, the film is under a different director (a first since 2003’s ‘2 Fast 2 Furious’). James Wan, who has mainly been known for his work on horror films like ‘Saw’, ‘Insidious’, and ‘The Conjuring’, takes over directing duties from Justin Lin, who had directed every entry of the series since 2006’s ‘Tokyo Drift’, for this new film. But of course, as we all know, that isn’t the biggest headline surrounding the film. Sadly, a more tragic one is. On November 30, 2013, while on break from shooting the film, series lead Paul Walker was killed in a single-car accident. Filming was only half-done at the time of his death so the production was temporarily put on hold so that the filmmakers could figure out a way to finish the film without Walker. As a result, ‘Furious 7’ now serves as not only a tribute to one of the series’ biggest stars, but also as the final film for Walker’s character Brian O’Connor. Needless to say, the film really delivers on representing Walker’s legacy with the franchise. But of course, this is also a ‘Fast and Furious’ movie and even with the change in directors, ‘Furious 7’ still succeeds in being a dumb and over-the-top but ultimately fun as hell action film that knows exactly what it is and doesn’t try to be something it’s not.

At the end of ‘Fast and Furious 6’, former street racer/criminal Dominic Toretto (Vin Diesel) and his crew; Brian O’Connor (Paul Walker), Dom’s sister Mia (Jordana Brewster), Dom’s girlfriend Letty Ortiz (Michelle Rodriguez), Tej Parker (Ludacris), and Roman Pearce (Tyrese Gibson) had finally returned home to the States after helping DSS agent Luke Hobbs (Dwayne Johnson) take down Owen Shaw and his crew in London. However, not long after, they soon find themselves being hunted by Shaw’s older brother Deckard (Jason Statham), who seeks revenge against Dom and co. for what they did to his brother. As it was revealed in the post-credits scene for ‘Furious 6’, Deckard was the one responsible for the death of Han (Sung Kang) in ‘Tokyo Drift’ which, for those who are new to the franchise, is actually this new film’s immediate predecessor being that it takes place after the events of the fourth, fifth, and sixth films. He follows that up by injuring Hobbs and nearly killing Dom, Mia, and Brian when their house is destroyed by a bomb. Not wanting to have to deal with another funeral for one of their family members, Dom and his crew team up with the government, specifically agent ‘Mr. Nobody’ (Kurt Russell), to find a computer program known as ‘God’s Eye’, developed by hacker Megan Ramsey (Nathalie Emmanuel), that would allow them to track anyone on Earth through digital devices. In return, the gov’t will allow Dom and the crew to use it to track down Shaw.

I mean, at this point, you should definitely know what you’re getting yourselves into when you watch these movies; this is the seventh entry in the franchise after all. You don’t watch them for the plot, that’s for sure. In fact, the MacGuffin they’re after in this film is actually unnecessary to their goal (I’ll explain why in a little bit). But of course, that’s not what these movies are all about. By now, the filmmakers have become very much aware of what these movies are; dumb fun, and they just roll with it. ‘Furious 7’ is no exception. Despite the fact that he’s not really as experienced in regards to directing action compared to someone like Justin Lin, James Wan does a really good job for his first major action film. The action sequences are just as crazy and physics/logic-defying as ever. This is a film where cars drop out of a plane, one super-fancy and super-rare car jumps between skyscrapers, and the characters constantly find themselves doing death-defying stunts. Of course, pretty much all of these stunts would be implausible in real life but who cares? And like I said before, at this point who even cares about the plot? It just serves as a way for Dom and crew to keep doing these awesome stunts. But even with the minimalist plot, one common theme that has basically been the defining trait of the whole franchise since the very beginning is the concept of family, which is even more relevant in this one given the death of Walker.

Without spoiling anything major, he is given a really fitting and touching send-off that is guaranteed to make even the toughest folks cry. The camaraderie amongst the main leads, from Walker to Diesel to Rodriguez to Johnson (by the way, some fans may be a little disappointed to know that Hobbs’ role in this film is much more diminished then it was in 5 and 6 given that he’s taken out of commission early on by Shaw for most of the film) to Gibson to Ludacris and so on and so on. And in my opinion, this is the greatest strength of the franchise; the fact that the relationships between the main characters feels very much genuine. Like with the last film, this entry also benefits from some fun additions to the cast, from Russell to Emmanuel to Djimon Hounsou, the latter of whom plays a mercenary who Dom and crew keep running into. As the main villain, Statham definitely brings the right intimidating presence in the role but ultimately he’s rather underused in some cases. Remember that whole thing I said earlier about the whole MacGuffin of the film being unnecessary? Well that’s because Shaw literally shows up for every major set piece in the film. So really Dom and crew didn’t even need that program to find Shaw because he always manages to find them first. He may be the older brother of Owen Shaw, but in the end the younger brother is still the best ‘F&F’ villain to date.

‘Furious 7’ probably won’t convert over anyone who isn’t a fan of the franchise. Like its predecessors, it’s over-the-top, stupid, and full of logic-bending, physics-messing, and death-defying stunts. But that’s why they’re so damn entertaining to watch and ‘Furious 7’ is once again proof of that. Yeah the plot is pretty weak, with the whole MacGuffin that the team is looking for being ultimately pointless in the grand scheme of things, but as I’ve said plenty of times in this review, who seriously goes into a film like this looking for top-quality writing? ‘Furious 7’ is just loads of fun while also maintaining the strengths of the most recent entries of the franchise, namely the great camaraderie of its cast and perhaps most importantly its keen sense of fun. I’ll admit that part of me kind of misses Justin Lin’s presence behind the camera but overall James Wan does do a really solid job for what was his first major foray into the action genre. And of course, I guarantee you that you’re going to be crying when this film ends as the characters, the franchise, and ultimately all of us say goodbye to Paul Walker. Regardless of what you thought of him as an actor, it’s clear that he was, above all else, a good man and he will be sorely missed. ‘Furious 7’ not only succeeds at being what the ‘Fast and Furious’ movies have become in the last few years but by also serving as a touching tribute to Walker’s legacy.

Rating: 4/5

#ForPaul