Tagline: First it was teacher to student. Then it was father to son. Now, it’s man to man.
Director: John G. Avildsen
Writer: Robert Mark Kamen
Starring: Ralph Macchio, Pat Morita, Robyn Lively, Thomas Ian Smith, Martin Kove, Sean Kanan, Jonathan Avildsen, William Christopher Ford, Pat E. Johnson, Rick Hurst, Frances Bay, Jan Triska, Gabriel Jarret, Randell Dennis Widner
PG | 112 min | Action/Drama
Budget: $12,500,000 (estimated)
The mark of a good sequel is that it offers elements which are new and rewarding.
The first Karate Kid movie was one of the surprise hits of 1985, and one that famous critic Roger Ebert correctly predicted would earn itself a Best Supporting Actor nomination at the 56th Annual Academy Awards ceremony, much to the mocking delight of fellow reviewer and long-time competitor Gene Siskel.
The fact is, in spite of its hokey title The Karate Kid is a gem of a movie, the story of bullied teenager Daniel Larusso (Macchio) and surrogate father figure Mr Miyagi (Morita) who uses marital arts to teach his student the values of life. The success of the movie guaranteed a big budget sequel, which although lacking the freshness of the original featured great locations and immaculate staging, allowing us to learn more about Miyagi’s past and how he evolved into the sagacious marital arts master we would grow to love. It showed the almost mystical figure’s human side, and ultimately brought the two characters closer together.
By the time The Karate Kid part III hit the screens Ralph Macchio was 28 years old.
No longer the dimpled, adorable type an overweight Macchio was finally beginning to show his age, and the dynamic of the movie was doomed as a consequence. Add to this a ludicrous plot line, forced moralities, and a contrived screenplay which only served to sully the integrity of its characters, and you’re in for a thoroughly dissatisfying end to what could have been one of the best trilogies of the decade.
After returning from his homeland Miyagi is facing joblessness and bankruptcy, until a typically loyal yet irrational Daniel sacrifices his college fund to realise his longtime mentor’s dream: to own his own Bonsai store – a project which anyone with a modicum of business sense would tell you was doomed to failure. The original Mr Miyagi would never have been so short-sighted, especially with the future of his student on the line, and already the magic of the previous movies is lost, your affection for its central characters sabotaged.
Daniel is soon flirting with a token squeeze, a Tiffany lookalike named Jessica (Lively) who looks ten years younger than Daniel, resulting in an onscreen romance which quite frankly comes across as perverse. Tiffany runs a store across the street, which coincidentally specialises in painting plant pots, a fact that gives the terminally precocious Daniel a quite staggering idea, one that I won’t waste your time elaborating on. With the aid of a few crappy tables and flimsy Japanese decorations the store is soon up and running, and with Daniel’s morbid love life developing nicely, all is well for our favourite duo.
Unluckily for them Miyagi is not the only one who has fallen on hard times. After his appalling behaviour following the All Valley Karate Championship from the first movie, former enemy and Cobra Kai Dojo owner John Kreese (Kove) is ostracised from the community, losing his business and resorting to alcoholism. Luckily for him former Vietnam buddy and megalomaniac entrepreneur Terry (Griffith) is there to lend a hand, funding an exotic oversees vacation for his friend in an effort to sober him up.
Taking time out from his millionaire lifestyle and toxic waste dumping discrepancies, Terry sets about plotting the perfect revenge, first by hiring hotshot fighter Mike Barnes (Kanan) to antagonise Daniel into defending his title, and then by trying to exploit Daniel and Miyagi’s relationship by becoming the confused middle-aged man’s mentor when a moralistic Miyagi refuses to train his former student.
It is here when the movie begins to pack a certain amount of punch, particularly when Terry introduces his own violent and brutal training sessions in which he manipulates Daniel into striking himself bloody, a routine of self-harm that he can only keep from Miyagi for so long. Griffith is brilliant as the sneering, malevolent Terry, the only bright spark of what is a decidedly low-key sequel of tired and listless central performances. But would Daniel really fall for Terry’s ploy after all that Miyagi had taught him? For the once great man’s sake you would hope not.
After single-handedly taking on Terry, Kreese and Barnes in one of the few scenes which utilises Morita’s wonderful comic abilities, Miyagi inevitably agrees to train his protege and the old dynamic is vaguely rekindled in a rushed sequence which offers little insight and drains the franchise of its trademark magic. Where the movie really falls flat however, is the not-so-grand finale, a lifeless karate event which disregards the symbolisms of previous instalments for a hollow victory which smacks of a cash cow that has been drained within an inch of its life.
Most Absurd Moment
After dropping the teachings of his longtime mentor and father figure Mr Miyagi, Daniel proceeds to smash his knuckles into mincemeat by aggressively attacking solid wood for almost half of the movie. Have you learned nothing, lad?
Most Offensive Japanese Cultural Reference
After turning his foot into a side of roast beef, Miyagi advises a hobbling Daniel to submerge it in a dubious neon green potion, causing it to heal overnight. Ah so, Daniel San! Me sow solly!
Most Absurd Dialogue
Exasperated with Miyagi’s unwillingness to train him, Daniel offers a little wisdom of his own.
Daniel: You know, this is the 80s, Mr. Miyagi. You can’t be so damn passive!
A low-key, low-budget conclusion to what began as a wonderful tale of morality, honour and friendship. There are very few moments to establish this instalment as a movie that is lovable for accidental reasons, and although there are embers of the old magic, this is a lazy, money-fuelled addition to the franchise which only serves to detract from those which preceded it.