Release Date: March 1st, 2018 (UAE, Kuwait, Philippines, Singapore) Directed by: Eli Roth Written by: Joe Carnahan Based on:Death Wish by Wendell Mayes, Death Wish by Brian Garfield Music by: Ludwig Goransson Cast: Bruce Willis, Vincent D’Onofrio, Elisabeth Shue, Dean Norris, Kimberly Elise, Beau Knapp, Camila Morrone
“People rely on the police to keep them safe. That’s the problem. The police only arrive after the crime has taken place. That’s like trapping the fox as he’s comin’ out of the hen house. If a man really wants to protect what’s his. He has to do it for himself.” – Ben
Well, I finally got around to watching this remake no one asked for. But I have to admit, the team up of director Eli Roth and actor Bruce Willis kind of intrigued me. Although, with Roth attached, I expected this to be over the top in regards to violence but it was pretty tame.
This also throws Vincent D’Onofrio, Elisabeth Shue and Dean Norris into the mix, so it had a solid cast.
Being a fan of the original film series, I never wanted more. I mean we had five films, three of which were great, one of which was good and another one that was at least amusing enough to justify its existence. Plus, I didn’t want to see anyone else other than Charles Bronson play Paul Kersey.
However, unlike the Bronson Kersey, the Willis Kersey is not an architect, he’s a doctor. That significantly changes the plot but then it also makes me wonder why this had to be a Death Wish movie as opposed to just some other vigilante revenge flick?
Like a lot of the modern vigilante movies, this one is pretty run of the mill, predictable and doesn’t offer much of anything that you haven’t seen before and done better.
Now I didn’t dislike this. In fact, I liked seeing Bruce Willis kick ass because he’s so damn good at it. He also elevates just about every movie he’s ever been in. Plus, the rest of the cast pulled their weight and I liked everyone in this that wasn’t a scumbag.
There’s nothing special here though. It’s just good, mindless entertainment but it doesn’t hold a candle to the first three films that Bronson did. Hell, it doesn’t hold a candle to Kevin Bacon’s vigilante flick Death Sentence. But if you’ve got nothing better to do for 107 minutes, give it a shot.
Rating: 6/10 Pairs well with:Death Sentence with Kevin Bacon and the original five Death Wish films.
Original Run: July 26th, 2019 – current Created by: Eric Kripke Directed by: various Written by: various Based on:The Boys by Garth Ennis, Darick Robertson Music by: Christopher Lennertz Cast: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Dominique McElligott, Jessie T. Usher, Laz Alonso, Chace Crawford, Tomer Kapon, Karen Fukuhara, Nathan Mitchell, Elisabeth Shue, Simon Pegg, Jennifer Esposito, Giancarlo Esposito, Haley Joel Osment, Brit Morgan
Sony Pictures Television, Amazon Studios, Kripke Enterprises, Point Grey Pictures, Original Film, Kickstart Entertainment, KFL Nightsky Productions, 8 Episodes (so far), 55-66 Minutes (per episode)
If I’m being honest, the trailer for this show hurts it. When I saw it, I thought it looked cheesy and way too edgy boi. However, I was pleasantly surprised to see that the show was something much better than what the trailer alluded to.
In fact, this is the best superhero show on television. Now I’m saying that only having seen the first season, as that’s all we’ve got at this point. However, I have a good feeling that it should maintain its quality, at least for another season or two, as it ends in a pretty profound way like a stiff, solid gut punch.
Like Preacher, another television show adapted from the comic book work of Garth Ennis, this is a dark tale that shows some people at their very worst while still providing enough lightheartedness to help take the edge off.
The cast is absolutely superb in this. Every single person that’s a regular on the show is putting in some top notch work. Karl Urban kills it in everything and that should go without saying. However, I don’t know much about Jack Quaid but I’m a fan now. The real standout though is Anthony Starr, who plays Homelander, who is this universe’s version of a Superman. Except this Superman is a total asshole that does some unbelievably heinous stuff.
I wasn’t completely sold on the show until episode four, which was the halfway point for this short season. Starr’s Homelander takes center stage and shows you the type of mad god that he is. While powerful superheroes turned evil and running amok is nothing new in the genre, this was some next level shit. And it was a moment that could have made the show or broke it. It certainly made it, as its perfectly executed, giving off the right sort of emotion and context, adding real depth to two of the main characters.
Since I loved the hell out of this show’s inaugural season, I don’t want to spoil too much. But if it’s not hitting the right notes for you early on, give it until the end of episode four. At the point, it’s hard not to go on.
The Boys is solid storytelling, solid character building and maybe the savior of the superhero genre, which is starting to get redundant and tiresome like spaghetti westerns by the late ’70s. And maybe that’s because this isn’t a standard superhero story, it’s real drama with high stakes and there are a lot of narrative threads and different avenues that the show can explore.
In only 8 episodes, it perfected world building and gave us something special… something I definitely want more of. Only two other shows really ensnared me like this in the last ten-to-twelve years: Mr. Robot and Breaking Bad.
Now the rating is pretty high but it just represents the first and so far only season. Hopefully, The Boys can maintain its quality moving forward.
Rating: 9.5/10 Pairs well with: another Garth Ennis comic turned television show: Preacher.
Also known as: Three (fake working title) Release Date: May 25th, 1990 Directed by: Robert Zemeckis Written by: Robert Zemeckis, Bob Gale Music by: Alan Silvestri Cast: Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Lea Thompson, Thomas F. Wilson, Elisabeth Shue, Flea, James Tolkan, Jeffrey Weissman, Marc McClure, Wendie Jo Sperber, Donovan Scott, Bill McKinney
“Listen up, Eastwood! I aim to shoot somebody today and I’d prefer it’d be you. But if you’re just too damn yella, I guess it’ll just have to be your blacksmith friend.” – Buford “Mad Dog” Tannen
The Back to the Future trilogy is one of the greatest trilogies in cinematic history. It’s damn near perfect and the films are still just as enjoyable now, as they were thirty years ago.
Each one is a tad bit weaker than the previous but since the first one is an absolute masterpiece, the sequels are still better than 95 percent of all the movies ever made.
Part III is my least favorite chapter in the trilogy but it is still one of the best popcorn movies a film fan could ask for.
This takes the Back to the Future formula and throws it into the Old West. I like that they did this and it opens up the series for some fresh takes on some of its tropes but I also feel like the western twist maybe wasn’t strong enough on its own to carry the whole film. What I liked most about the second film, the one I find to be the most entertaining, is that it jumped around and showed us a variety of different times and alternate timelines.
Also, I feel like going further back in time to the Old West might have worked better in the second film. Like maybe they could have flip-flopped the second and third pictures. Which also could have given us the wonderful Mary Steenburgen in two movies instead of just this one where she was actually a bit underutilized. Sure, you’d have to rework some narrative details.
I am going off on some tangents and most people will probably disagree with my take but in the end, this was still a superb motion picture and one of the best from its era.
While it is still exciting it is a bit bogged down by the scenery and is the slowest of the three films, which also adds to my thoughts on it not being the best choice for the final chapter. This feels more like a second act and when it ends, it ends quite abruptly.
But I love the tone of the film and it still captures the amazing Back to the Future spirit. It also probably would have played better, at least for me, if they kept making these and just didn’t cap it off at three films like every other movie franchise of its time. They could’ve given us two more of these pictures, had they made them shortly after this one and frankly, I’m pretty sure they would have maintained the same quality had they utilized the same creative team.
Back to the Future, Part III is the weakest of the three but the bronze medal winner in the strongman championships is still stronger than just about everyone else in the world.
Rating: 9.5/10 Pairs well with: the other two Back to the Future movies, as well as ’80s Steven Spielberg and Joe Dante Films.
Also known as: Paradox (fake working title) Release Date: November 20th, 1989 (Century City premiere) Directed by: Robert Zemeckis Written by: Robert Zemeckis, Bob Gale Music by: Alan Silvestri Cast: Michael J. Fox, Christopher Lloyd, Lea Thompson, Thomas F. Wilson, Elisabeth Shue, Flea, James Tolkan, Casey Siemaszko, Billy Zane, Jeffrey Weissman, Charles Fleischer, Jason Scott Lee, Elijah Wood, Joe Flaherty, Buck Flower, Marc McClure (uncredited), Crispin Glover (archive footage), Mary Ellen Trainor (uncredited)
“The almanac. Son of a bitch stole my idea! He must have been listening when I… it’s my fault! The whole thing is my fault. If I hadn’t bought that damn book, none of this would have ever happened.” – Marty McFly
Back to the Future is pretty much a perfect film. Back to the Future, Part II isn’t perfect but it’s so damn good, it’s hard to see the flaws unless you really look for them and then, they’re mostly narrative issues that can be dismissed if you look at this with a Doctor Who “timey wimey” sentiment.
This chapter in the classic and awesome film series sees our heroes go to the future, return to an alternate present and then take a trip back to the past where we saw them in the first film. Part II takes you to more places than the other two films combined but it works really well for the middle act of this three act trilogy. It also does the best job of showing the consequences that can arise from disrupting the timeline.
I think that this has the most layered plot and with that, tells a more complicated story. I remember some people back in 1989 saying it was kind of hard to follow but these were also people significantly older than me. As a ten year-old, I thought it all made sense and I still do. Granted, there are some other paradoxes that this would have created and the film just conveniently ignores them but if it were to follow science to a T it would have broke the movie.
The cast is still solid in this film but Crispin Glover is sorely missed. I really wish he had returned to this just because I think it would have made the story better. While he appears in archive footage and another actor stands in for him and wears a mask of his face, this all lead to a major lawsuit that forced Hollywood to change how they use the likeness of non-contracted actors.
While I can’t say that this is better than the first movie, it is my favorite to revisit just for all the things it throws at you. It’s certainly the most entertaining overall and it sort of embraces the absurdity of its subject matter without overdoing it. It’s mostly a comedy but it is balanced well with its more dramatic moments. There is an underlying darkness in this chapter that the other two movies don’t have and I think it gives it a bit of an edginess lacking in the other two. Not that they needed to be edgy but that element works well here.
Back to the Future, Part II is how you do a sequel. It upped the ante, was more creative than its predecessor and enriched its universe, giving it more depth while developing its characters further.
Rating: 9.75/10 Pairs well with: the other two Back to the Future movies, as well as ’80s Steven Spielberg and Joe Dante Films.
Release Date: August 20th, 2010 Directed by: Alexandre Aja Written by: Pete Goldfinger, Josh Stolberg Based on:Piranha by John Sayles Music by: Michael Wandmacher Cast: Elisabeth Shue, Adam Scott, Jerry O’Connell, Ving Rhames, Jessica Szohr, Steven R. McQueen, Christopher Lloyd, Richard Dreyfuss, Kelly Brook, Riley Steele, Dina Meyer, Paul Scheer, Eli Roth, Ashlynn Brooke, Bonnie Morgan, Genevieve Alexandra, Gianna Michaels
The Weinstein Company, Atmosphere Entertainment, Chako Film Company, Intellectual Properties Worldwide, Dimension Films, 88 Minutes
“Kelly, trust us. It’s never cheating if it’s with another chick.” – Andrew
Well, this was pretty much exactly what I thought it would be: nothing more, nothing less.
There are killer fish, boobies (but not enough), gore (but it’s mostly CGI bullshit), bad science and insane characters. There’s also Elisabeth Shue and she’s a sheriff and well, I love a woman in uniform.
For the most part, this was just a hair above being boring and mundane. The story is weak and it completely misses the social commentary that was worked into the script of the original Joe Dante Piranha movie from 1978.
Okay, I guess there is some commentary here but it is mostly just about how party people are dopey meat heads, figuratively and literally, as they become fish food.
The overabundance of CGI in this film is disappointing. The original worked so well in its use of practical effects. All you need in these sort of films is some bubbly water, a person screaming and fake blood being released all around them. It’s pretty easy to create. But Alexandre Aja, a director I’ve never been a fan of anyway, would rather have people flail around and scream in the water and then just plug in some computerized fish in post-production with effects that reveal how limited the film’s budget really is.
The highlight for me was that the film had cameos by Christopher Lloyd and Richard Dreyfuss but both of their contributions were minimal and didn’t enhance the movie very much.
This just had a terrible script and frankly, a film like this isn’t hard to write. You don’t have to come up with Oscar caliber dialogue or write in a bunch of character development for people that will just get eaten but you should come up with a solid string of action sequences or chaos that keep this film afloat.
Honestly, after about 30 minutes for setup, the remaining two-thirds of the film should have been insanity mixed with gore and boobs. And good gore, not just CGI fish burping up a CGI penis for cheap laughs that didn’t even get laughs. All we got with this film was ten minutes of Spring Break chaos and then a lame sequence of the teen hero trying to save his annoying girlfriend from a sinking yacht.
Making a Piranha movie shouldn’t be rocket science, especially in the 2010s. And the problem is, this wasn’t a bad movie but it also wasn’t a good one. It’s in that sort of limbo that I hate where I can’t praise the film and I can’t enjoy trashing it.
I’ll probably check out the sequel though because I heard its worse and in the case of this emotionless and creative dud, worse would be better.
Rating: 5/10 Pairs well with: Any of the Piranha movies: original series, remakes, sequels, etc. However, nothing tops the greatness of the original Joe Dante film.
Also known as: A Night on the Town (Australia) Release Date: June 19th, 1987 (New York City premiere) Directed by: Chris Columbus Written by: David Simkins Music by: Michael Kamen Cast: Elisabeth Shue, Keith Coogan, Anthony Rapp, Maia Brewton, Penelope Ann Miller, Bradley Whitford, Calvin Levels, George Newbern, Vincent D’Onofrio, Albert Collins (cameo), Ron Canada
Rose Productions, Silver Screen Partners III, Touchstone Pictures, Buena Vista Pictures, 99 Minutes
“Don’t fuck with the Lords of Hell!” – Gang Leader, “[Chris picks up the knife and shoves it in the gang leader’s face] Don’t fuck with the babysitter!” – Chris
Adventures In Babysitting was one of those movies I watched a heck of a lot as a kid in the ’80s. It was just a cool movie and being that I was around the same age as the youngest kid in the film, who was also a massive Thor fan, it was easy to relate to the characters. Plus, my family are all originally from Chicago and I used to go up there all the time in my youth. I love that city and this really captures it in a very ’80s way, which was also how I first experienced Chicago.
I think the real glue of this picture is Elisabeth Shue. She was perfect as the lead and believable in the situations she found herself in. I guess the studio wanted Molly Ringwald or Valerie Bertinelli but Shue landed the role and I can’t quite see how this movie would work the same way with those other actresses. The character of Chris felt very much like Shue.
The kids in the film were also well cast. You had Keith Coogan and Anthony Rapp, both at the beginning of their careers, and Maia Brewton, who was solid and the most fun and energetic character in the movie. I also love all the bits Penelope Ann Miller did at the bus station, even though she was on her own and separated from the other kids throughout the vast majority of the picture. And even though he’s only in two scenes, Bradley Whitford played his ’80s douchebag role to perfection in this.
The premise sees these kids go into Chicago to pick up Chris’ friend, who has run away from home and is stranded at an inner city bus station. On their way into downtown Chicago, they blow out their tire. They get saved by a nice tow truck driver but then things go absolutely nuts and the kids get mixed up with an auto theft ring ran by some shady dudes. The rest of the film sees them running through Chicago, dodging the gangsters and constantly getting into wild situations. It almost plays like an urban Goonies without treasure. Additionally, the end has the kids racing home to beat the parents in a similar fashion to Ferris Beuller but without the cool musical montage of Ferris running through people’s yards and houses.
This was also the first film directed by Chris Columbus, who had written some very successful films before landing this gig.
Like all ’80s teen films, this is certainly dated. However, it hasn’t lost its charm or any of the excitement. It has held up really well and isn’t just good when seen through nostalgic eyes, it is just a film that works and is still a blast.
Plus, it had a friggin’ awesome movie poster in a time when there were still friggin’ awesome movie posters.
Rating: 7.5/10 Pairs well with: For an Elisabeth Shue pairing, watch The Karate Kid. For Keith Coogan and a babysitting theme, Don’t Tell Mom the Babysitter’s Dead. If you want to see more of Bradley Whitford being an ’80s prick, Revenge of the Nerds II: Nerds In Paradise.
Release Date: September 2nd, 2017 (Telluride Film Festival) Directed by: Jonathan Dayton, Valerie Faris Written by: Simon Beaufoy Music by: Nicholas Britell Cast: Emma Stone, Steve Carell, Sarah Silverman, Bill Pullman, Alan Cumming, Elisabeth Shue, Austin Stowell, Eric Christian Olsen, Andrea Riseborough, Natalie Morales, Wallace Langham, Fred Armisen, John C. McGinley
Decibel Films, Cloud Eight Films, Fox Searchlight Pictures, 121 Minutes
“I’m the ladies number one. I’m the champ. Why would I lose?” – Bobby Riggs, “Because dinosaurs can’t play tennis.” – Billie Jean King
I wanted to see this in the theater last year but there were so many top notch indie movies coming out around the same time that this one got lost in the shuffle. It also didn’t help that it came and went in the cinemas near me pretty quickly. I think it was gone within two weeks.
Luckily, we live in a time where you can stream almost any movie in less than three months after it hits theaters. So when this popped up to rent, that’s what I did.
For the most part, this was entertaining and I cared about what was happening. The film felt like it was lacking some weight though. There wasn’t a lot of depth to it. It focused a lot of its time on Billie Jean King’s personal life in regards to her sexuality and that’s perfectly fine, as it may have really effected her game in the way that it did in this film but the actual “Battle of the Sexes” element seemed to be on the backburner through large portions of the film. It certainly didn’t feel like the real focal point until it happens on screen. Mostly this felt like two pictures pushed into one film without enough care and balance given to the script. Also, and I rarely say this, this is a film that would have benefited greatly with a longer running time.
I like both aspects of the story but things felt sacrificed on both ends, as this was a film that didn’t establish its identity well enough or at least given us both sides with more organic fluidity. It honestly feels like there was a half hour lobbed off of this movie late in post production. Like the studio decided that no one would sit through a 150 minute movie without superheroes blowing up cities.
Regardless of the disjointed narrative, the performances by Emma Stone and Steve Carell were great. Stone was absolutely believable as King, especially in showing her emotional struggle with her sexuality and with fighting for respect for women.
Carell’s take on Bobby Riggs reminded me a lot of his most famous character, Michael Scott from The Office. He didn’t play Riggs exactly like Scott but he had that same sort of presence where he was highly comedic and could still touch your heart dramatically in very subtle ways. He played Riggs with respect and didn’t just make him a sexist oppressor, which is so common in Hollywood movies these days. He was just as much a comedian as he was a tennis giant. And really, you’re sort of left wondering if Riggs was a genius and a hero in his own right because maybe, just maybe, he was trying to help women by being the chauvinist archetype that needed to be conquered. Granted, I don’t think he fixed the match, I just think that his anti-women stance was a show to create the perfect climate for the event to happen.
I also loved seeing Natalie Morales in this, as I’ve been a fan of hers since Parks & Recreation.
Furthermore, I adored Alan Cumming’s role, as he was an almost fatherly figure to King in regards to helping her accept her sexuality and reassuring her that she is going to be okay because times are changing and she’s a big part of that. It almost makes up for Cumming annoying the hell out of me as Boris in GoldenEye.
This film handles the issue of gender equality very well. Stone’s King sums it up best when she tells reporters that she isn’t doing this because she wants to show that women are better than men, she’s doing it for respect. That’s something that seems lost with the sentiment of a lot of modern feminists and social justice warriors. It’s about respect and coexisting for everyone’s benefit, not warring over who is better or trashing those who aren’t your gender.
At its core, this film was respectful to the historical figures it represented and to the culmination of their conflict. It’s also nice to know that everyone did go on to live happy lives and there was a real respect and appreciation between King and Riggs after the dust settled.
Rating: 7.5/10 Pairs well with: Sadly, there just aren’t a lot of good tennis movies. Almost none, actually. At least where tennis isn’t just a minor element. But for 2017 and for being a historical sports biopic, I’d put this with I, Tonya.
The Karate Kid made a pretty big cultural impact in 1984. It had two sequels featuring the main cast, as well as a spin-off sequel and a nonsensical remake. It also influenced a ton of 80s kids to take up karate.
Let me address each film individually.
The Karate Kid (1984):
Release Date: June 22nd, 1984 Directed by: John G. Avildsen Written by: Robert Mark Kamen Music by: Bill Conti Cast: Ralph Macchio, Noriyuki “Pat” Morita, Elisabeth Shue, William Zabka, Martin Kove, Randee Heller, Chad McQueen, Tony O’Dell, Ron Thomas, Rob Garrison, Frances Bay, Peter Jason, Larry B. Scott
Columbia Pictures, 127 Minutes
The first film is the best overall. I would consider it to be a classic. Sure, it can be 80s cheesy but that is also a lot of the appeal. It still feels pretty realistic and has a grittiness to it.
The film was directed by John G. Avildsen and the score was done by Bill Conti. Both men worked on the original Rocky and there are plenty of similarities between that film and this one. Just make the hero younger and switch out boxing for karate and there you go. But as emotional as Rocky was, The Karate Kid may actually have more depth and character.
Sure, some of my love of this film is due to nostalgia but it still resonates today. The message is timeless. It is about standing up for yourself and not backing down or succumbing to fear. But it also shows how bad kids can be created by the influence of bad adults. It is also about friendship in its purest form, as teenage Daniel and the elderly Miyagi have one of the strongest bonds in motion picture history. There is a lot to take away from this film.
It is shot well, directed well and the music is perfect, whether it is the score or the pop tunes of the time. In fact, some of the epic landscape shots, enhanced by the beautiful score, are majestic. The cinematography was superb.
It also just hits you right in the feels.
The Karate Kid, Part II (1986):
Release Date: June 20th, 1986 Directed by: John G. Avildsen Written by: Robert Mark Kamen Music by: Bill Conti Cast: Ralph Macchio, Noriyuki “Pat” Morita, Nobu McCarthy, Tamlyn Tomita, Yuji Okumoto, Danny Kamekona, William Zabka, Martin Kove, Chad McQueen, Tony O’Dell
Columbia Pictures, 113 Minutes
This film picks up at the point where the first one ended, which was kind of cool. It then follows Daniel and Miyagi as they travel to Okinawa to see Miyagi’s sick father. While there, a former best-friend turned rival challenges Miyagi and the heroes must face stakes much higher than those of the first film.
This is a beautiful picture. Even though it takes place in Okinawa, it was filmed mostly in Hawaii. But the island village life and the geography are well captured and become characters in the film.
The scenes between Miyagi and his long lost love Yukie are both heartbreaking and heartwarming and really make an impact in this film, more so than the love story between Daniel and his new love interest.
As a kid, I liked this film better than the first but that was due to the exotic feel of it and the fact that Daniel was forced to fight to the death. The threat in this film is just so much more real than the petty squabbles of teenagers from the first movie. But as an adult, I can see that the original is superior.
This film doesn’t get the respect it deserves by critics or IMDb, as it is certainly better than its 5.9 rating.
The Karate Kid, Part III (1989):
Release Date: June 30th, 1989 Directed by: John G. Avildsen Written by: Robert Mark Kamen Music by: Bill Conti Cast: Ralph Macchio, Noriyuki “Pat” Morita, Robyn Lively, Thomas Ian Griffith, Martin Kove, Sean Kanan, Randee Heller, Frances Bay
Columbia Pictures, 112 Minutes
While this might be the worst film of the original trilogy, it is still better than the 2010 remake and that 1994 abomination, The Next Karate Kid.
This film sees John Kreese, the leader of the villainous Cobra Kai from the first film, join forces with his war buddy in an effort to get revenge against Daniel and Miyagi. Their plan is to tear apart the bond between Daniel and Miyagi while finding a challenger that can crush Daniel and take his title.
The spirit of the series is still alive in the relationship of Daniel and Miyagi but that is where it ends, really. You still love the characters and it is hard to watch them struggle, as they find themselves at odds with one another for the first time. But this film also has some of the sweetest moments between the two characters, as Daniel sacrifices a lot to help his mentor achieve his dreams.
This is still a movie worth your time, if you like the series. It’s not great but it’s not a total waste either.
Although, I find it hard to believe that the villainous Kreese and Terry Silver just walked away after this film ends. And I have to wonder what’s wrong with Daniel after striking out with three girls in three films. Can we maybe get some sort of follow-up or update?
Maybe I’ll write and direct The Karate Kid, Part VII, disregarding the nonexistent films Part IV, V and VI. In my film, Earth is in a post-apocalyptic state following the Cobra Kai defeating the military might of the world. Daniel awakes from a coma to find out that he was in a plane crash, orchestrated by the Cobra Kai and that Miyagi has died. He discovers that the Cobra Kai took over the world and now he must lead a band of fighters proficient in Okinawan karate. Daniel and his karate army must stop Terry Silver and John Kreese’s fascist Cobra Kai government. Daniel’s advantage is that Silver and Kreese don’t know he survived the plane crash years earlier. But they are about to discover the truth like a crane kick to the face!