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Wong Fei Hung’s friends all train with Master Lin. His father refuses to let him train because his temper is too uncontrolled. During the yearly firecracker contest, Master Pang’s students cheat and fight dirty to defeat Lin’s students. Officer Chuan Wing is hunting a thief and murderer who uses a lethal kick. During one of WFH’s many skirmishes around town he thinks he met the thief who resides at the Pang school. Chuan Wing convinces Master Lu Ah Tsai who had trained WFH’s dad to train the son as well. The cocky new student and teacher travel north to train for two years.
This version of WFH was insufferable. I kept hoping the arrogant toddler would get his butt handed to him over and over. Even with his new sifu he was hot headed and ready to fight at the drop of a hat. Maybe that would have been okay if the fights were good. There were really only two fights. Lau Kar Leung vs Lau Kar Wing and later Lau Kar Leung vs. Gordon Liu. Sadly, both fights were rather short. The two free for alls in the firework contests were just school yard brawls. Even the training sequences with Gordon vs a fortune in dishware were lackluster.
There was no mistaking who the troublemakers were going to be when Chiang Tao and Fung Hak On walked on screen. This WFH was just as bad as those characters at the start until he miraculously, and off screen, turned into a saint that could confer transformation with a look later in the film. Ugh.
Watching Wong Fei Hung throwing hissyfits was not entertaining for me. Watching the Lau brothers fight was. Quick and talented, I needed more of that and less of negative impulse driven characters swaggering around. The complete 180 of WFH and the Pang crew and murderer was unearned and irritatingly bad writing. Rated on a curve.
14 March 2026
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"One man alone can't fight injustice"
Don Wong, John Liu and Hwang Jang Lee all harbor secrets and are deadly Secret Rivals. This was a Hong Kong movie filmed in the RoK and used a number of Korean stuntmen and actors. The scenery was all in Korea as well.John and Don wander into the Prince’s city with different reasons for being there. The Prince is having a contest to hire the best fighter for his bodyguard. The fights are to the death. What the fighters don’t know is that the Prince and the Silver Fox stole a shipment of gold three years ago from the Chinese. They hope to pin the theft and a murder on the new bodyguard. Both John and Don fall for the lovely Ching Chin Chin who is the daughter of the inn’s owner.
The story was thin and the camera work not so great. What was good? If Hwang Jang Lee, Don Wong and John Liu are in a film there will be plenty of high-flying kicks which rarely used wires or undercranking. The Silver Fox had two of the best legs in the business. I didn’t really care much about the story, HJL flying without the use of wires, kicking high, hooking, and twisting, is always fun to watch. Of course, the stuntmen were called upon to do a few flips and somersaults here and there but the fights were largely au naturale.
The film was badly faded with white pock marks and green streaks. The only copy I could find was dubbed in English with grainy tin can sound. It’s the same guy who does all the male voice with a female actor doing all the women’s voices. No subtitles available. I tried to not let any of these things affect my review…too much.
If you like old kung fu flicks with creative kicks, this is one to try. Graded on a curve. Really missed HJL’s mom hair and 70’s stache.
8 March 2026
Trigger warnings: Lots of bodies, but no spewing blood
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"As long as there are people, there will be grievances"
Swordsman 2 is a film I’ve wanted to watch for a while now. Jet Li and Brigitte Lin? Sign me up! Not quite so fast Butterfly. As someone who doesn’t like Hong Kong slapstick humor, I discovered I would have to sit through nearly 40 minutes of it before the fighting and story really kicked in. Once the story and fighting began in earnest, I was on board.After the betrayal in the first film, Ling Woo Chung and his junior sister Ngok Leng Saan/ The Brat are headed to meet up with their brothers and leave the martial life behind. Along his drunken way, they find themselves in the middle of a skirmish. Ling takes note of a beautiful woman involved. They travel on to the village where Ling’s lover, Ying Ying, lives to meet up with the others but find bodies instead and Ying Ying gone. Fearing she’s been kidnapped just like her father who is the head of the sect, Ling realizes he’s going to have to take a detour away from retirement mountain.
The first forty minutes were needlessly confusing and painfully slap happy. Japanese ninjas were wedged into the story and never properly elaborated upon. By the time the story set in and the characters settled down, I was honestly ready to check out, but I’m glad I stuck around. Brigitte Lin’s Invincible Dawn/Dong Fang Bu Bai was the best part about the film. She gave a complex and compelling performance, giving dignity to a character that was spoken about derogatorily due to a physical and mystical sex change which to make matters worse, left her not only without a penis but as a (gasp!) woman. Any time Invincible Dawn was not on the screen, the film suffered for it.
Dawn wanted to rule the country and make her people powerful and respected. While she was a villain, the sect leader she’d imprisoned was equally as bat sh*t crazy. Ling may have wanted to get away from it all but trouble was going to come calling no matter where he went. Jet Li was at his best when Ling stopped pouting about not having enough wine and got serious about dealing with the baddies. I’m not sure I bought him as a romantic lead, fortunately Brigitte was more convincing and I could forgive anything for her.
The fights were mostly swords and creative uses of sewing needles. Mystical skills were also utilized. Spinning, jumping wire-fu, undercranking, and blurred camera work often shot in the dark was dizzying. Some of it worked for me, while other times it felt like overkill. Speaking of killing, the bodies stacked high, at least what was left of them. I don't know if it was the style or the film has degraded but it had that gauzy effect where I worried I needed to have my glasses prescription checked.
Other than the first 40 minutes and the homophobic and sexist jokes, I enjoyed the last hour of the film. Again, largely due to Brigitte Lin. Swordsman 2 is a popular film from 1992 and I’ve always been upfront with not caring for this brand of humor so I’m sure others will have a much better experience with it than I did. If you enjoy older martial arts fantasy films and/or the stars, this is one to try.
7 March 2026
Housekeeping note: My 1200th review!
Trigger warnings: SNAKES. So many snakes in so many gruesome ways. I had to FF in a few places. Decapitations, dismemberments, exploding bodies, bodies and horses cleaved in half. Eye injuries. Suicide. Buckets and buckets of blood splashed and sprayed. Rats. Sexual content but suggested more than shown.
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"It was a mad flood of frustration storming toward an outlet"
Watching “A Legend or Was It?” aka “Legend of a Duel to the Death” was the emotional equivalent of being dragged over railroad ties by a runaway train. Only eighty-three minutes long, every second rumbled with the pain of injustice, corruption, and mindless mob mentality. A thinly veiled criticism of Japan’s wartime atrocities and the mindset that led to it, this film was not for the faint of heart.The Sonobe family from Tokyo has been evacuated to a small northern village during the summer of 1945. The father and one son are MIA. The eldest, Hideyuki, has been medically released from military service. His sister Kieko is engaged to the mayor’s son, Goichi. When Hideyuki sees Goichi he recognizes him as the soldier he saw killing and raping Chinese women. No way was he going to let his sister marry the monster. Offended at the rejection, Goichi and his father begin framing the Sonobes for stealing and vandalism. The villagers already resent the outsiders and find it easy to blame them for any crime, indeed the failure of the military to succeed as well! When Goichi determines to re-enact his military crimes, the resulting actions cause the simmering village to explode.
The opening prologue was filmed in color displaying a beautiful mountainous area with friendly people laughing and helping each other out. In minutes, the color drained away and the narrator foretold, “Not a single person talks about what happened…these mountains still glow red under sunset clouds…Their souls feel quiet over the nightmares of bygone days.” Tragedy was creeping toward the Sonome family for no other reason than they were outsiders. That and the Takamori family ruled over the village like dictatorial medieval samurai lords. One did not tell them “no.” As events spiraled out of control, a gun wielding mob was enflamed by Takamori who burned down the rule of law and all reason.
The villagers had not had access to true war news and were fed what the government decided so when they heard how close Japan was to losing the war they were devastated. All the sacrifices in money, food, and sons, had been for nothing. Frustration, fear, and deep-rooted anger needed an outlet and more importantly…someone to blame. The alien Sonobe family was the perfect scapegoat for their hopelessness. “…the Japanese people woke up from the nightmare…They swore silence to their souls and would not speak of it.” Rather than justice or introspection, the villagers’ peace had been built on the blood of the innocent. All they had to do was shove the harsh truths down and pretend nothing happened. “One day, it will be told as a legend of a mountain demon.” After all, they were incapable of rape and murder and senseless actions. I’d say the film overexaggerated the mob mentality, but I’ve lived too long and know how it can crop up anywhere when sacrificial offerings are needed to calm the demons of fear and greed. Don’t think, don’t ask questions, just grab your weapon and kill the other. “A Legend or Was It?” was 83 tension filled minutes that were about as comfortable as a hair shirt, but also an important lesson. The loss of justice, reason, and compassion can cause people to carry out heinous actions against not only ‘the other’ but their own neighbors as well.
26 February 2026
Trigger warnings: Sexual assault, though nothing too graphic was shown.
Musical note: The film made use of a mouth harp during especially tense moments and it was quite effective.
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"What the future holds can't be known"
Flowing was a 1956 Naruse Mikio film with an all-star female cast. Centered on a failing geisha house and the women who worked there, it showcased their personal problems, debts, and loyalty.Otsuta is an aging geisha (39 IRL) whose house is diminishing. Once there were 7 geishas working there, now only 2 remain (one of whom is 50-years-old) and her bills are stacking up. Her daughter, Katsuyo, only lasted six months as a geisha and is now looking for work to supplement the family income. Otsuta’s lazy sister and young daughter reside in the house ever since she and her husband broke up. Rounding out the family connections, Otsuta’s step-sister helped her finance the house after Otsuta mortgaged it to give her lover money. The lover promptly left her after receiving the cash. Now she is saddled with heavy debt and a nagging, condescending sister. Into this mix walks in Rika, an older widow (45-years-old) who needs a job and is hired as the maid. Otsuta scrambles to obtain financing to keep her house open and also must confront an extortionist ex-employee. Life as a geisha is never easy.
To clarify, this was not one of those geisha films where the women slept with their customers, these geishas were for entertainment purposes only. The whole career field was languishing in light of modern amusements. Otsuta also wasn’t the most astute businesswoman or ethical. She had a habit of skimming the girls’ profits. Katsuyo felt like she was caught between the devil and the deep blue sea as the daughter of a geisha. She would feel “too small” if she married into another family and what man would marry into hers? Job opportunities for women were few and far between, with long lines around the temporary employment agencies. Rika provided the warmth of the film as she cared for the women calmly, insightfully, and nearly always with a smile. The film was based on a book written by a woman who had been a maid in a geisha house. Currently Tanaka Kinuyo is listed as supporting but she was every bit a main character and our avatar into this world.
It would be difficult to gather a stronger female cast---Tanaka, Yamada Isuzu, Takamine Hideko, Okada Mariko, and Sugimura Haruko to name but a few. It did create a few issues with the ages of the characters. Yamada at 39 was four years older than “older” sister Kahara Natsuko (35). Takamine was just 7 years younger (32) than her film mom! I was actually shocked to find the sisters were only in their 30s. Age discrimination was also shown as poor Rika had been turned away from other jobs for being too old at 45--well, clutch my pearls! And oddly Otsuta found the name Rika to be too complicated and foreign to say so she nicknamed her Oharu, the movie character Tanaka played in “Oharu” (1952).
Much like a river, Flowing, carried these women downstream in their lives, inexorably pulled by age, societal changes, and a need for love and acceptance. Loneliness was bred into their lifestyle despite spending their days entertaining men with song and shamisen. Relationships, like money, flowed in and out of their lives. Stability was a hard boulder to cling to as life rushed around them. I loved the cast and idea behind this film, yet I also found it overly long and repetitive. This is one of those films I desperately wished to enjoy more than I did. It was not a loss, for how could spending two hours with women displaying their polished craft ever be a waste? Even when my mind wandered, I was grateful to take a ride on the river of time with them.
19 February 2026
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"I wish I could paint myself over again"
Kurosawa Akira wrote the script for The Portrait and to quote Sally’s shocked line in When Harry Met Sally, “Well, that's just so optimistic of you, Harry”. Kurosawa wasn’t known for movies about women or stories this positive and heartwarming. The film was deftly directed by Kinoshita Keisuke with strong performances by the cast.Kaneko and Tamai agree to purchase a house together for 200,000 yen and then flip it for 400,000 splitting the profits. The only problem is that there are tenants living in it. Kaneko decides to move his young mistress into the upper room which the family doesn’t fight. Midori is temperamental and not pleased with the move. The family occupying the house is poor but happy. The father, Nomura, is a painter of some renown but not terribly successful. The family automatically assumes that Midori is Kaneko’s daughter and treat her as a treasured guest. Midori isn’t used to positive affirmation and her guilt is made worse when Nomura asks her to sit for him. The woman revealed in the portrait is not who she believes she is.
Nomura with his magical artist’s eye saw deep into Midori, who she really was. This vision stood in stark contrast to who Midori believed she has become in order to survive after the war. The cognitive dissonance finally erupted as the young woman had to decide the person she would choose to be. Could she really paint herself all over again?
The family was almost too good to be true even seeing blackouts as a gift to dance in the moonlight. The one member who grasped that Midori was not Kaneka’s daughter cast no judgment, offering only acceptance. Kurosawa’s social commentary was muted but the blackouts were a bit of reality creeping in as well as the young women resorting to sleeping with old men to make a living. Nomura’s oldest son had been missing since the war with no word, as they hopefully awaited his return. Then of course, there were the realty vultures hoping to turn quick profits as they turned tenants out of their homes. The Nomura family’s impenetrable loving-kindness shield the only detriment to the current flippers’ plans.
The Portrait was a lovely little film showing a family’s and a young woman’s resiliency in the face of social upheaval and financial strain. Each person had to decide who they were and who they wanted to become, even when their options were few. And the greatest mystery of all, would Chiba the cat return home? An easy recommendation for people who enjoy these old films.
13 February 2026
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"Don't blame me---I have to kill someone!
Every once in a while a low budget, terrible CGI movie can surprise you. Monster was not a great movie, but for its little film niche it performed surprisingly well.A bus full of people wake up to find that they are in the middle of a desert with no memories of who they are. Nearly everyone panics and runs away only to be obliterated by a literal monster sand storm. Five men and one little girl survive on the bus. The desert reveals other horrors when the motley crew is attacked by roaming sand demon dogs. The little girl calls all the men daddy, naming them after characters from the Monkey King. Who were they before this happened and can they find the way home?
Little Daddy quoted Buddhist proverbs, one of which was, “Good people are always protected by the Buddha.” That saying will be tested and provided clues to the men’s backgrounds. Where the survivors were and how they got there was fairly logical given the writers’ world building. The characters could behave stupidly as often happens in these films but less so than in others. The film also brought up the question of how people would behave if they had no memory. Would they be selfless or self-serving? The acting was actually pretty good, I’m used to actors practically sounding out the words off cue cards in some of these low budget creature features. The child actor could be too much at times, but overall, she gave the men a reason to bond together.
The desert was desolate enough to throw fear into anyone. The CGI critters, sandstorms, and other special effects won’t win any awards yet they helped fulfill the Buddhist punishments of wind, water, and fire effectively enough. Not sure how man-eating monsters fit into that philosophy. Much of the film dealt with how people react and act during a crisis and whether they are willing to protect the most vulnerable. To be sure, redemption played a strong role in the story, my own personal butterflynip.
Monster is not a film for everyone. It won’t be terrifying for those looking for jump scares nor quality enough for the majority of movie viewers. If like me, you are the type to wander aimlessly through film sites and randomly pick films to watch, this one might not burn you like others. Truly damning it with faint praise, I know, but I set my bar of expectations low, very low, and came away adequately entertained.
30 October 2025
Trigger warnings: Dismemberment, and creatures attacking and feasting on humans.
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Ichiro and his friends Makoto and Kimi enjoy looking through Ichiro’s telescope. Ichiro’s father is in charge of the Maki Institute and developed a special rocket fuel that will enable interplanetary travel. Makoto and Kimi are the wards of shoe shiner Wakao. One night all television sets are taken over by Dr. Eggman, I mean Ambassador Phantom from Planet Silver who addresses Japan from his spaceship. He declares his imminent arrival, gives the address where he will land, and no one had better get in his way. A contingent of police, scientists, and reporters await him. Oh, and also Ichiro and Makoto. After the aliens vaporize a number of police leaving only their helmets, the Prince of Space arrives and drives the Phantom off. Not to be deterred, Ambassador Phantom devises an evil plan to obtain Dr. Maki’s rocket fuel recipe.
I know it was 1959 and this was a children’s film, albeit with a number of redshirt deaths, but the scientists said that Planet Silver was 305,000km from the moon. The moon is only 385,000 km from the Earth. A planet orbiting so close to Earth sounds like a doomsday film all by itself. Setting that small tidbit aside, if you look at this film from the eyes of children 10 years before the Apollo 11 landing, and in a much less connected world, it’s not that bad. The costumes, special effects, and acting were low budget enough to be hilarious for today’s kids and adults. But this film wasn’t created for us. I found the kids being around dangerous situations unthinkable, but remember equally implausible films/tv shows from my childhood. This film could have benefited from fewer military personnel, reporters, policemen--basically fewer stuffed shirt adults.
Having argued for leniency, Prince of Space wasn’t a measurably good film by any metric, but it was a capsule from a different time before CGI, where a superhero in a baggy costume could point a baton at an alien with a giant beak and utter the words, “Your weapons can’t hurt me!” unironically.
24 October 2025
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Yosaku and his mentor Shigetomo, have trekked into the snow covered mountain forest and find the perfect tree they can use to sculpt a Kannon. When a blizzard hits, they take shelter in an empty hut. That night a figure in white enters and freezes everything including Shigetomo. She spares Yosaku’s life as long as he never mentions having seen her. The day he recounts what he saw to anyone is the day she will kill him. After Yosaku recovers, a young woman named Yuki seeks shelter at his home during a rain storm. His mentor’s wife invites her to stay not knowing the shadow she has let in. Yuki and Yosaku fall in love, but can two lovers from different worlds have a happy ending, especially when human demons lurk in their village?
The Snow Woman was adapted from a tale in Kwaidan: Stories and Studies of Strange Things by Lafcadio Hearn. The 1964 film Kwaidan contained a well-made short film about the Yuki Onna starring Nakadai Tatsuya and Kishi Keiko. This film expands upon it without losing any tension or the emotional punch of the tragic love story.
Fujimura Shiho was mesmerizing whether playing the ice-cold Snow Woman or warmhearted Yuki. Ishihama Akira’s naïve sculptor Yosaku didn’t have as much to do, nor did his character develop much. Murase Sachiko as the shaman who perceived Yuki’s true form set the scenes she was in on fire. The special effects were limited yet effective. Ifukube Akira (Godzilla) provided his own special brand of music which echoed the characters' moods. While there were outdoor scenes most of the film was indoors and felt almost like a play. The judicious use of lighting added to both the eerie otherworldly elements and the ordinary household setting as a Yuki Onna learned about love and family.
The Snow Woman was a product of its time in terms of acting and film and yet was still captivating largely due to Fujimura’s loving eyes that could grow icy when threatened. If you enjoy older films or you liked Kwaidan, this is one to try.
23 October 2025
Triggers: Attempted sexual assault
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Ah Chi’s opera troupe has been hired to play for a few days by Uncle Ma. Ma invites his nephew, Dick, to watch the opera. He’s hoping Dick and Ah Chi will marry and break the curse her grandfather placed on the Ma family at the time of his death years before. What Uncle Ma doesn’t know is that the real danger lies in a company of soldiers who died due to the bad medicine Ma’s elder had created that killed the soldiers and others in the town.
This film combined low brow comedy, one of the ghosts was named Cat Sh*t, and half haphazard drama. Several characters were possessed and killed by the ghosts, but no one seemed to care. The story wasn’t terribly cohesive and the acting and staging often had the quality of a 6th grade school play. My viewing experience was hampered by a faded copy of the film with almost invisible white subtitles at times. I’m used to old kung fu flicks having this quality and did not grade off for it. In fact, I took the poor quality into consideration and bumped my score up just in case it was affecting my judgement.
If you enjoy old Hong Kong ghost comedies and Cantonese opera to boot, this might be a film to try. Otherwise, it’s skippable.
15 October 2025
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Police officers Lam and 2237 are faced with a bizarre drug mule when they stake out a bar. The problem? She was dead and deadly dangerous. Uncle Feng, a cop stuck out in the sticks is called in to help on the case by Capt. Ma, an old friend and police comrade. Lam doesn’t believe the woman was dead before she was killed (again) and works overtime to drive Feng away. Feng is a supernaturally talented Taoist and supernaturally stubborn. Before long he has used his skills to track down an evil Japanese sorceress and drug trafficker who uses animated corpses to do her bidding.
Lam Ching Ying cannot be beaten as a Taoist ghost and vampire buster. Nearly any scene with Feng and his wild eyebrows was a winner, whether he was taking on a bodybuilder corpse, ticked-off ghost, kung fu bodyguard, or sorceress who was nearly impervious to any assault. Lam also proved in his fight against Billy Chow he could still hold his own with fists and kicks. Nishiwaki Michiko as the sorceress could have used more scenes but nailed her magically bonkers role. The second half of the film was action packed with almost non-stop fights both kung fu and magical.
Where this film let me down was the first half, especially when it centered on the two officers played by Wilson Lam and Michael Miu. I didn’t find their humor funny and Officer Lam’s sexist slapping women on the butt made me hope he’d get eaten. There always seem to be inept sidekicks in these films and these two bordered on grating. They weren’t as bothersome in the last 45 minutes. Feng’s niece was inexplicably thrown into the story as a female presence for the two cops to fight over. Ick. And also for Feng to rescue.
Once the action, magical mirrors, and ropes took hold of the film, it was much more entertaining. The special effects were especially low budget, completely expected and part of the fun. I should be bored of the LCY formula, but I line up to watch him fight the undead every time. I just wish there had been some jiangshi/hopping vampires for him to tackle in this film. As always, rated on a curve against others in the genre/time period.
14 October 2025
Trigger warnings: There was a gross supernatural character for anyone squeamish. I hope there wasn’t but it sure looked like animal abuse of a cat. Officer Lam’s sexist swatting of women was never acceptable, but certainly not in 1990.
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Hachiya Koichi works at the amusement park’s Squid Shack. He’s secretly training for the arrival of an outer space monster due to arrive in 2019. The local Exploration Group led by Kameoka stumbles across his boat carrying his kaiju fighting equipment. Middle schooler, Kame, and his three younger friends are looking for an adventure. Hachiya sends them on a scavenger hunt after he leaves town and the boys are sure they’ve been pranked. At least mostly sure.
First of all, the setup was a bit strange. The story was set in 1970 so Hachiya would be a very old man by the time the creature arrived in 2019. There was no time jump, so you do the math regarding a kaiju actually appearing. Most of the story focused on Kame and his young friends riding their bikes and hanging out. Kame was bullied at school and looking for belonging and meaning in his life. But believing a kaiju was going to destroy his town nearly 50 years in the future was too much for even his imagination.
As a slice of boys’ life I’d rate the film a 7.0 given its low budget. There was some nice cinematography and the friendships were realistic. As a kaiju film it would receive a 3.0. Around the hour mark there was a possible sighting for a few minutes. The filmmaker couldn’t quite make up his mind what kind of film he wanted it to be. Most of the screen time was spent on Kame and the Exploration Group. Given how little Hachiya was shown it was hard to tell if the film was playing it straight about the asteroid or if the pending disaster was all in his head. Perhaps if the extraterrestrial threat looming wasn’t 50 years in the future, there would have been more urgency to the story whether it was for real or the object of a disturbed mind.
10 October 2025
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"If life knocks you down, get back up"
Karate Kid: Legends was the sixth addition to the franchise that began in 1984. Full of nostalgia by calling back old familiar characters and tropes, KKL didn't exactly pave a new cinematic experience but as a popcorn movie it delivered some fun moments for fans.Li Fong is training under sifu Han in Beijing, China. He’s working to overcome his feelings of guilt about the death of his brother who had been attacked and killed. His mother doesn’t want him to practice kung fu, fearing she’ll lose a second son. When she lands a job in New York City, she makes Li promise no more kung fu. When attempting to order a stuffed crust pizza at a local pizzeria (sacrilege in NYC!) he meets Mia and her dad who owns the place. The two hit it off, something her ex-boyfriend and brutal MMA fighter, Conor, is none too pleased about. In order to help Mia’s family and himself, Li may have to break his promise to his mother.
KKL’s poster prominently features Jackie Chan/Mr. Han and Ralph Macchio (Daniel LaRusso). The two don’t really show up until nearly an hour into the film. The first hour sets the stage for Li’s motivation to fight in the Five Burroughs Tournament. The second half is mostly training montages with the two mentors flipping poor Li Fong all over Fetterman’s garden roof.
Mr. Miyagi’s family was retrofitted to have a connection with the Hans-“Two branches, one tree.” I wasn’t disappointed that the two teachers weren’t more prominently featured, this was Li Fong’s story. Plus, Jackie is getting older and Ralph is an actor, not an accomplished martial artist. The elders provided humor for the film and gave Li the support he needed to heal and compete. I thought Ben Wang as Li Fong was utterly charming and his authentic martial arts skills helped to sell the fights. Sadie Stanley was one of the better girlfriends and better actresses in the franchise. Wen Ming Na (Disney’s first Mulan and Agents of Shield) didn’t have nearly enough to do. I always enjoy her presence in films and television shows. Joshua Jackson (Dawson’s Creek and Fringe) added another fight style as a retired boxer who was in debt to loan sharks.
The plot followed much of the original’s framework---a fish out of water with a single mother who had to deal with a violent opponent and ex-boyfriend to the girl he had a crush on. The evil gym “We don’t fight for points, we fight to kill!” was badly underdeveloped. Aside from one run-in with Conor and his Demolition posse, Li didn’t suffer much as the new kid in a strange land. He had a supportive mother, girlfriend, girlfriend’s father, and not one, but two mentors! Thankfully, the infamous and totally useless Crane Kick was not used. The equally useless Dragon Kick was but at least they figured out how to make it workable. I loved that Daniel-san made the comment that you can’t teach someone karate in a week. Say it ain’t so---“Wax on, wax off!”
At ninety minutes, the story flew leaving precious little room for character or story development. This was a stream-lined film that often used the familiar characters and plot points to take shortcuts that weren’t completely satisfying. The original Karate Kid was a 1980’s cheese fest with a heart of gold. 2025’s Karate/Kung Fu Kid lacked the original’s heartwarming moments like Daniel had with Mr. Miyagi (d*mn to the depths WWII internment camps!). Just like we probably didn’t need multiple Rocky or Jurassic Park films, we probably didn’t need another addition to the KK family. However, if you enjoy the Karate Kid paradigm, Legends would be one to add to your watch list. It might not have been memorable or groundbreaking but it was 90 minutes of mindless entertainment that kept the fists, kicks, and gentle humor flowing.
30 September 2025
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Five buddies decide to go into business together. Fail. Try again. Rinse and repeat. Two of the friends find girls and fall in love, though the way to romantic happiness is rocky.
Full disclosure, this isn’t my favorite type of film, made much worse by the director’s choices. The characters ran around, bouncing off each other, and anything around them like a drunk puppeteer was pulling their strings. Scenes rapidly cut from one to another. Everyone was frenetic and clumsy. Most of the characters were hard to sympathize with. And the acting was pretty abysmal. I was honestly relieved when the credits rolled. If you enjoy 1990s Hong Kong youth comedies you are likely to enjoy this much more than I did. Also, if these actors and actresses are among your faves, it’s probably worth while to watch and see them in their youth. If not, it’s skippable.
20 September 2025
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"Studying is the only equality this country offers"
I have not seen Dragon Zakura S1 (2005) and stumbled upon S2 (2021) on Netflix. Dragon Zakura S2 takes place two years after an unfortunate incident at another school with Sakuragi having gone underground. When a new school needs help motivating their students, it takes an old student to drag Sakuragi back into the land of the living.Mizuno Naomi was one of the students Sakuragi Kenji helped get into the University of Tokyo (UT) back in 2005. Now a full-fledged lawyer with her own firm she needs fellow lawyer Sakuragi’s help at a high school with a dismal track record of sending kids to UT. With the carrot of a 5-year contract with the school if they can turn the ship around, Mizuno hunts her mentor down. The current chairperson, Tatsuno Kumiko, is firmly against stringent study habits, preferring the students to be autonomous. After Mizuno finds Sakuragi and cleans him up, she puts him back into the trenches. Tatsuno and Sakuragi butt heads with a wager being placed that if 5 students don’t make it into UT, the special course will be shut down.
What I liked:
Sakuragi played by Abe Hiroshi in the only suit he owns, seriously, I’ve never seen him in anything other than a black suit with a white dress shirt. At 169 cm/6’2” is that the only thing he can find to fit in Japan? Okay, that height is not unusual where I’m from but regardless of looking stunning in the uniform, can the next wardrobe department please make him something new to wear? Now, where was I… Right, Sakuragi may have had a Tiger Dad/Tough Love approach, but he never gave up on his students. He also left their life decisions up to them.
Sakuragi did have a point--Education and not memorization was key, the lifetime habit of asking questions and researching the answers was the best way to avoid being a nameless cog only useful for paying taxes.
Thank you, Sakuragi, for telling one mom that boys can do housework and another dad that girls can go to university. It’s the 21st century people!
The bonding of the students and their team camaraderie as they overcame obstacles may have been predictable, but was still satisfying.
What didn’t work for me:
The villain story was clumsily implemented. And what precipitated Sakuragi’s disappearance was never satisfactorily explained.
Mizuno called in a known tiger and then became frustrated when he didn’t act like a pampered house cat.
The handling of a gay character and an autistic savant student were borderline offensive at times.
Not a major turnoff, but problems and obstacles were easily overcome. Bad students made up for years of slacking quickly.
What dragged this drama’s score down for me and what tempts me to reduce it yet again is that they let abusers off the hook. Not once, not twice, not three times, but four. Forgive the abuser if you want, but they needed to be held accountable. ***rant below the date***
To sum up:
If I was still in school, this might have been a motivating drama for me. Sakuragi taught the kids that mistakes were normal and they should emotionally prepare for not being perfect. He helped them discover their weaknesses and how to overcome them so that they could still find joy while studying. Every student had been underestimated, with his program they gained confidence and became happier, freer. They learned to live up to their own expectations instead of living down to the low expectations set by others. Sakuragi guided the students onto a path of their own choosing, one that would lead to a future with more possibilities. Now, if he'd taught them they not only didn't have to take physical and emotional abuse, but could hold their abusers accountable, his job would have been well done. He failed spectacularly in that life course.
26 August 2025
Rant below with spoilery comments:
#1 The badminton coach who nearly ruined Kaede’s body and career purposefully should have been fired at the very least. Was he sleeping with a student as well? Kaede refused to report him, insisting the team needed him because he was a good coach. NO, HE WAS NOT. Good coaches don’t do the reprehensible things he did. Stop excusing men for abusing their power. Kaede's badminton partner working in cahoots with him and who purposely injured her during a tournament should have been kicked off the team. Made me ill seeing her going back and supporting the team and the abusers. Her parents were awful as well, pushing her when her body was broken.
#2- Mari’s dad was physically and emotionally abusive for years. She prevented the teachers and lawyers from turning him in saying TEN YEARS ago he was faced with a stressful situation which changed his behavior. Stop excusing physical abuse against girls/women!!!
#3 They let a villain off the hook in the “best interest” of a student. Wouldn’t holding a person responsible for illegal behaviors have been better for everyone so that they couldn’t ruin more lives? Will the student who was driven to suicide sleep better at night knowing the villain paid no price for any of their bad deeds?
#4 Where were the test monitors when two students abused another DURING and in-between exams? When discovered the miscreants should have been thrown out instead of being given more chances.
And I just talked myself into dropping this from a 7.5 to a 7.0 despite enjoying much of the drama.
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