A scene from ‘Karate Kid: Legends’

Review: ‘Karate Kid: Legends’ has fun connecting the past and present

‘Karate Kid: Legends’ revitalizes the film franchise with heart, comedy and charming personalities.

Martial arts is a school with many disciplines. The applications range from meditation to defense to combat with some styles also taking centre stage in tournaments and other organized events. People can begin training at almost any age and how well they do is usually dependent on their commitment to the teachings. There are several actors who established their careers on their martial arts backgrounds, and even more movies and franchises with some form of martial arts at their heart. In 1984, a bullied young man learned how to defend himself from a reclusive master, spawning sequels, a series and now an extension of the story in Karate Kid: Legends.

When Li Fong’s (Ben Wang) mother accepts a position at a hospital in New York, they uproot their lives in China to move to America. Li quickly makes friends with Victor (Joshua Jackson) and his daughter, Mia (Sadie Stanley), owners of the local pizzeria, which also makes him an immediate rival of a nearby karate gym frequented by a loan shark (Tim Rozon) and Mia’s ex-boyfriend (Aramis Knight). Li’s mother (Ming-Na Wen) hoped the change in scenery would remove his temptation to fight, but Li’s kung fu training gets even more use on N.Y.’s streets — now he’s just without the guidance of Shifu Han (Jackie Chan).

Even though Chan returns to the franchise to resume his 2010 character, this is a much different and more enjoyable movie than that attempt at a reboot. Li is a charming personality that audiences will easily root for and his new friends only add to the appeal. It’s especially pleasing to see Jackson play such a charismatic and surprisingly fit character, while Rozon’s turn as a villain is convincing though limited. This is also a genuine sequel as it reintroduces Daniel LaRusso (Ralph Macchio) to the film franchise, reaching back to the origins of Miyagi’s karate to unite the old and new guard.

Jonathan Entwistle’s feature directorial debut injects some modern flair with graffiti-style text overlays sprinkled throughout, denoting the passage of time or translations. It makes the picture seem more youthful, though it mostly complements the fresh cast, musical choices and narrative update, likely inspired by the Netflix series’ success. While the story of a teen in a new city making enemies with a martial arts star over a girl is familiar, the all-deciding tournament is called “Five Burroughs” and actually transforms the streets of New York into its arena.

The competition and Li’s training for it only occupies the latter third of the movie. Han’s kung fu and LaRusso’s karate offer variations for the same techniques, making for some comedic debates and amusing sparring sequences in which Li usually has the unfortunate privilege of being their test dummy. The rest of the movie feels more Karate Kid-adjacent as Li adapts his fighting style to pass on his learnings to an older athlete trying to regain his former boxing glory. There are some bumps in the narrative, but it’s an endearing picture that brings fun back to the film franchise.

Director: Jonathan Entwistle
Starring: Jackie Chan, Ben Wang and Joshua Jackson

Similar Posts

  • Review: ‘War for the Planet of the Apes’ ends the brutal confrontation (Includes first-hand account)

    Mankind has always insisted on climbing to the top, first of the food chain than the tower of power. Eventually, being king of their own local heap wasn’t enough and they went about conquering additional land, fighting bloody battles and feeding their desire for more. Living apart peacefully often seems against our natures, and thus nothing and no one are left to their own devices. In War for the Planet of the Apes, Caesar doesn’t want to fight but he may not have a choice.

  • Review: ‘The Red Turtle’ accomplishes so much with such a simple approach (Includes first-hand account)

    While Disney, Pixar and DreamWorks dominate conversations about animated features, Laika and Studio Ghibli usually make it into the mix too; though they don’t always have the same level of name recognition, they’ve been responsible for some of the most acclaimed films of the last 20 years, including several Oscar-nominated titles. Their styles greatly differ as do the types of stories they choose to tell, but one is almost never disappointed with the end product. Studio Ghibli’s latest movie is somewhat of a departure even for them as they partnered with a foreign animator to make their first non-Japanese picture, The Red Turtle.

  • Review: ‘The Intruders’ left something behind (Includes first-hand account)

    Uprooting one’s life to move to a new home, or especially a new town, can be distressing. The unfamiliar can easily become frightening and/or appear threatening. Anxieties are amplified and everything appears alien or suspect. Compound that with existing mental health issues and you get the terror experienced by the young woman at the centre of The Intruders.

  • ‘Pitch Perfect 2’ is a little off-key

    Although female-driven comedies are becoming less of a rarity, their quality still varies considerably. This is not a reflection of the talent available, but rather the material being produced. It’s been shown these movies, when made well, can turn a significant profit at the box office. Capitalizing on the popularity of the TV show Glee, producers greenlit the first Pitch Perfect, which had a bit of a Mean Girls tone with an awesome soundtrack. It was a huge hit and developed a loyal fan following, making the arrival of Pitch Perfect 2 a done deal. But the question at the back of everyone’s mind is, “Can it live up to the first movie.”

  • Review: Jennifer Aniston’s ‘Oscar snub’ for ‘Cake’ may not be unwarranted (Includes first-hand account)

    When horrible things happen to some people, their chief coping mechanism is to shut down and shut everyone out. When that terrible thing is prolonged with no end in sight, that bitterness settles in and appears equally endless. In Cake, a venomous woman suffering from chronic pain finally sees the light at the end of the tunnel when someone she knows dies by suicide.