Displaying items by tag: Jackie Chan

KARATE KID: LEGENDS

US/Canada, 2025, 93 minutes, Colour.

Jackie Chan, Ben Wang, Ralph Macchio, Joshua Jackson, Sadie Stanley, Ming-Na Wen, Wyatt Oleff, Aramis Knight.

Directed by John Entwhistle.

The popularity of the Karate Kid lives on. The original film, starring Ralph Macchio and Pat Morita, was released in 1984, a sequel in 1986, another in 1989, and a female version later with Hilary Swank. The films have had a large following – especially judging by the popularity of this film, 40 years later from the original, young audiences eager to see it.

And, they will enjoy it. And, so will all those parents who remember seeing the films on television, as well as the grandparents who remember the films so well from the 1980s!

And, the filmmakers wisely have a prologue here, a clip from the original, reminding audiences of Mr Miyagi and Daniel LaRusso. We, the audience, are immediately drawn into the atmosphere.

The first part of this film is set in Beijing, with Jackie Chan (now aged 70 with more than 150 film and television credits) running a kung fu Academy, a special student, Li Fong who has special talent and whose brother was killed by thugs, friends of a contestant he had beaten. Li’s mother is a doctor, forbidding her son to fight. Then, suddenly, she is transferring to work in a hospital in New York, taking her son with her.

The action in this film moves at quite a sprightly pace, keeping the attention of the modern young audience. And, while all the expected ingredients turn up, they are presented with verve, likeable characters, some humorous lines and situations that keep us smiling as well as involved. The filmmakers have certainly read the current sensibilities of young audiences very well and responded accordingly.

Ben Wang is a pleasing strong screen presence, audiences quickly identifying with him, some charm, some awkwardness, the tensions with his mother, caught up immediately with bullies, charming  who Mia who works at her father’s pizzeria, he a former champion boxer and athlete. And, there is the immediate challenge from the arrogant (and, of course, to be ultimately defeated) Conor Day, asserting himself as Mia’s boyfriend.

Soon Mr Han, Jackie Chan, arrives in New York City, takes over the training of Li, especially for the 5 Boroughs annual competition. Mr Han has a great admiration for Mr Miyagi, photos, memorabilia. So, he immediately seeks out Daniel LaRusso trying to persuade him to come to New York to train Li. So, halfway through the film, here is Ralph Mackey again, in his early 60s, but still alert and active (and he is the star of the celebrated television streaming, Cobra Kai). Kung Fu and Karate, two branches, one tree!

In a way, we could write the screenplay ourselves at least in terms of the events. However, it is all presented in such a lively and engaging way, we want to see the expected events, we want to see how they turn out, the challenges, the difficulties, and, of course, the romance as well as mother’s relenting. And, we relish the defeat of the arrogant bully. It all happens and we are happy and satisfied.

Ben Wang is such an engaging screen personality he may well get the opportunity to be the Karate Kid again.

1. The popularity of the original films, of Mr Miyagi, of Daniel? The sequels, television? Current audiences liking the films? A new opportunity?
2. The plot of the original, the teachers, the students, karate, the skills, threats, competitions, achievement? Updated to the 2020s?
3. The device of having the opening clip from the original film, the tribute to Pat Morita and Mr Miyagi, the reminder of Daniel and Ralph Macchio?
4. The Beijing opening, Mr Han, Jackie Chan and his reputation, Kung Fu, the young students, Li behind the screen, his mother’s arrival? The background of his brother’s fight, victory, attacked and killed? The effect on Li and his grief, on his mother, her forbidding fighting?
5. The transfer to New York City, farewell to Mr Han, settling in, the apartment, Li going to the pizzeria, meeting with Mia, her father, the attraction? His going to school, Alan as his coach, classes, study? The encounter with Mia and his helping her? The promise to see the city, on the back of the motorbike, breaking down, on the train, confronted by Conor Day and his associates? The background of his father, Mia’s father and the loan, the thugs and Li fighting them off, the hostility?
6. Li, engaging personality, Mr Han’s arrival, the training, the Five Boroughs’ competition? His mother seeing the poster, forbidding him? His training nonetheless?
7. Mia’s father, Li training him, techniques, boxing, his being knocked out, Li holding, remembering his brother, Mia urging him on, his failure, her upset with him, cutting him off? His seeing her with Conor Day? Upset?
8. Mr Miyagi going to see Daniel, the meeting, the memories, Mr Miyagi? Daniel not wanting to come, Mr Han so persuasive, his arrival? Their working together, the training sequences, Kung Fu and Karate as two branches of the one tree?
9. Readiness for the competition? The style, the posters on the screen, the bouts, the scores, the editing and pace? Li moving up the ranks? His rival moving up the ranks, the final, the confrontation?
10. The humorous situation of the training for the particular somersault and kick, Li and his favours, going to the subway station, his training, eventually success, the trap for his rival?
11. The final fight, Li losing, then catching up, the final equality, the trap and technique, victory? His rival as a bad loser, pushing the referee? His father’s anger? Li and the support of Mr Han, Daniel, Mia and her father? His rival finally accepting defeat and bowing?
12. The happy ending, at the pizzeria, the special of full edges, Li working, the relationship with Mia, her vitality and charm? The future?

RIDE ON

Owner, 2023, 126 minutes, Colour.

Jackie Chan.

Directed by Larry Yang.

High entertainment for Jackie Chan fans. If this had been his last film, it would have been a popular summing up of his life and career. However, it is far from his last, and, while this was made when Jackie Chan was in his late 60s, he is still continuing into his 70s.

Here Jackie Chan plays an ageing stunt double and stuntman, with a particular skill in acting and writing with his horse, Red. But, the requests are not coming in. He has some good connections with producers and actors in the past and he is offered some opportunities. With some he is successful. But, at the end, he fails in a spectacular stunt. So, some sad aspects of ageing and losing one’s skills and powers.

However, the filmmakers continue to delight the audience by inserting quite a range of clips from Jackie Chan films and some spectacular fights, stunts, enjoyable memories – and that throughout the film.

Jackie Chan is a strong screen presence, always has been. He can deal with the action, no problem. And, in most of his films, he is genial, sympathetic, as he is here.

However, there is a strong back story, concerning the horse, concerning his daughter.

Flashbacks show the difficult birth of the foal, Jackie Chan caring for it, the immediate bonding, a kind of psychic and spiritual bonding which continues throughout their life together, Red are being all of his master’s commands, sensing what should be done, even at times going down on his knees and bowing to him. Those who enjoy movies with horses will enjoy this aspect, so strong throughout.

But, the stuntman has neglected his family, especially his daughter who resents him, comes to challenge him. However, they do begin to bond and she is very supportive of him and his horse.

The other aspect of the film focuses on money, some complications from a company and its executives who send legal representatives to take back Red, quoting all kinds of legal and financial documentation. The stuntman asks help from his daughter. She asks help from her boyfriend, rather timid even when the stuntman tries to teach him some martial arts moves. They are rather amateur and they have difficulty in helping the stuntman to keep his horse.

The film seems to be ending when the big stunt fails and Red is reclaimed.

But the film does go on, sad with the sacrifice the stuntman makes as read is taken from him, the farewell, the horse chasing the vehicle, not wanting the master to leave, going into decline and pining.

Common sense, practicality and sentiment all take over at the end – and, as we would wish, happy reconciliation all round.

A pleasing and entertaining testimony to the film genius, presence and stunt work of Jackie Chan.