This list of The Karate Kid characters consists of fictional characters from the films The Karate Kid, The Karate Kid Part II, The Karate Kid Part III, The Next Karate Kid, the remake, and the Cobra At the tournament, Daniel reaches the semi-finals while Johnny advances to the finals after defeating a highly skilled. Jaden Smith in The Karate Kid () Jada Pinkett Smith at an event for The Karate Kid () Will Smith at A martial arts master agrees to teach karate to a bullied teenager. . Release Date: playing high notes near the end of the music but is at the left (low) end of the keyboard with both hands. Alternate Versions. Read Common Sense Media's The Karate Kid review, age rating, and parents During the karate competition, the sparring is "sanctioned," but people still end up hurt. The Karate Kid was re-made in with a younger perspective starring Stay up to date on new reviews. . Browse titles with similar subject matter.
List of The Karate Kid characters - Wikipedia
Miyagi from the original films. The film follows the same story line as the original, and several lines and actions are repeated from the original. Unlike Miyagi, he lacks his sense of humor and lightheartedness and appears more conflicted and depressed.
‘The Karate Kid’ or ‘The Kung Fu Kid’?
He is also shown to have a car in his living room and is fixing it. However, Han is a practitioner of kung fuand elements of his backstory differ from Miyagi's, such as the circumstances surrounding his wife's and son's death. In this version, Han tells Dre that he was distracted by an argument with his wife while they were driving in his car, and they crashed, killing them, relentlessly driven by guilt for it.
Every year, he smashes the car after fixing it on the date of their deaths, and fixes it again after that to repeat the cycle, hoping to relieve his guilt somehow. He continues to train Dre for the Kung Fu tournament.
He is a bigger student attending the same school as Dre, and continually harasses him throughout the film for Dre's interactions with his possible love interest, Mei Ying. He is the top student at the Fighting Dragon studio run by Master Li, who teaches his students to treat their enemies and opponents without mercy. He also goes as far as drastically beating him in the secluded back entrance of Dre's apartment before being stopped and defeated by Mr.
Cheng is much like Johnny Lawrence: In the alternative ending, Cheng is about to get beaten up by Master Li for failing the tournament and showing respect towards Dre and Mr.
Han, but luckily, Han comes to the rescue by defeating Master Li in a match. This is similar to the opening scene in Karate Kid, Part II Miyagi rescues Johnny from John Kreese and is implied that this is how the remake of the sequel will begin, on the account that there will be a Karate Kid 2 with Jackie Chan and Jaden Smith reprising their roles, respectively.
Like Ali Mills, Meiying has an interest in music notably playing the violin exceedingly well and gets admittance into the fictional Beijing Academy of Music which Dre refers to as 'BAM! She and Dre officially become a couple at a festival.
One day at school, Dre encourages her to skip both school and violin practice for a day of fun. However, her performance got rescheduled to that day, nearly causing her to be late. Although he arrived to see her perform, her father instructs them to part, deeming him a bad influence on her life for his reckless actions. However, Dre rehearses a written apology to Meiying's father which Mr. Han had translated for him, asking for a second chance.
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He accepts, and promises him that Meiying will be at his tournament. At the end of the film, she is seen cheering loudly, keeping her 'pinky promise' to Dre, which was for her to be the loudest fan to cheer for him when he would win the Kung Fu tournament. He is also the one who tries to beg Cheng to spare Dre after he throws dirty water at them. He is also the one who gets slapped by Master Li for showing mercy to his opponent when they were sparring in the studio.
He is also the one who injures Dre's leg during the semifinals of the tournament on Master Li's orders and deeply regrets his actions afterwards. As a result of severely injuring Dre's leg, Liang gets disqualified. In the end, Liang, along with Cheng and their friends, develops a newfound respect for Dre and Mr. Han after Dre fairly defeats Cheng in the tournament. Sometimes, he also has pity for Dre and shows mercy. Like John Kreese, Master Li teaches his students to be ruthless and merciless towards their enemies, which includes using unsportsmanlike or illegal moves.The Karate Kid (2010) - Six Versus One Scene (1/10)
Han tells Drew that Master Li does not teach his students real Kung Fu, but is a "bad man teaching them very bad things". When Dre and Han arrive at the Fighting Dragon studio to make peace, the bruised Cheng tells him that Han was the one who "attacked" him.
Li attempts to coerce a fight from either Han or Dre, but Han instead arranges for Dre to fight at an upcoming Kung Fu tournament.
During the tournament, Li instructs Liang, one of his best stduents, to deliver an illegal strike to Dre's leg, preventing him from continuing the tournament and allowing Cheng to win the tournament by default.
Ultimately, Dre returns to the ring and ultimately defeats Cheng, much to Li's anger. In the alternate ending, Master Li seeks to beat Cheng for failing the tournament and showing his newfound respect for Dre and Han. Dre's mother then punches Li in the jaw as retribution for ordering Liang to deliver the illegal strike on Dre's leg. While shopping for Pepto-Bismol for his grandmother at a strip mall in Reseda, he is attacked by a group of rich bullies led by Kyler after accidentally foiling their plans to buy beer.
The bullies nickname him "Rhea" after noticing the bottle of Pepto-Bismol and dumping it all over him. When the bullies shove Miguel on Johnny's car, Johnny attacks them before he is arrested. Miguel becomes Johnny's first student in the new Cobra Kai dojo. Perversely, though, it is his very exploitation of Beatty and Dunaway's star power that allows Penn to capture the truest aspect of the duo: Often forgotten amidst the mythology of Bonnie and Clyde is the fact that they were chronic self- mythologisers, a pair of performers who often "seemed to others to be acting out forbidden roles and to relish their roles" Kael, Penn thus shows Bonnie and Clyde reading their headlines with glee, documenting their crime spree Bonnie writes a doggerel ballad which gets published in a newspaperand posing for publicity shots with cigars and tommy guns.
Clyde Barrow," Dunaway announces when they first meet C. Stephen Hunter is hardly alone in thinking that it was an easy generational transference for the nascent Boomers to see themselves as so beautiful, so in love, so radical, so entitled to self-expression, so embittered by a failing economic system, so martyred by a crusty older generation that despised them for those attributes exactly.
Hunter, Rather than being repelled by a film of moral ambiguity and schizophrenic tone changes, young American viewers clearly saw in it a very real mirror to the confusion they had been feeling about Vietnam, about the civil rights movement, and about their own futures.
One wonders if this post-classical revolution in cinematic truth would have taken hold without some of the groundwork laid down by Bonnie and Clyde. In this light, it seems fitting to leave the final word to Pauline Kael, whose original review David Newman considers "the best thing that ever happened to Benton and myself" Biskind, More than most critics back inKael sensed the beginning of an important new chapter in Hollywood history.
Bonnie and Clyde brings into the almost frighteningly public world of movies things that people have been feeling and saying and writing about. And once something is said or done on the screens of the world, once it has entered mass art, it can never again belong to a minority, never again be the private possession of an educated, or "knowing," group.
But even for that group there is an excitement in hearing its own private thoughts expressed out loud and in seeing something of its own sensibility become part of our common culture. Dunaway, Faye Revolution! Dylan, Bob Blonde on Blonde. Hanson, Curtis Revolution! Kanfer, Stefan Hollywood: Waldron-Mantgani, Ian Retrospectives: Shoot the Piano Player.
The four cinema releases have enjoyed varying degrees of box-office success: Nonetheless all four films are worth looking at, as they all reveal Ridley Scott's tendency to invoke the past as a way of commenting on the present.
This has been evident in several of his recent works as director and producer — for example GladiatorKingdom of HeavenAmerican Gangster set in the early sand The Assassination of Jesse Jameswhich Scott produced. Cracks the debut feature of Scott's daughter Jordan Scott is set in a girls' private school in mids Britain; Tell-Tale offers a contemporary interpretation of Edgar Allan Poe's short story The Tell-Tale Heart; Robin Hood takes us back to the time of Richard the Lionheart and King John at the beginning of the thirteenth century; while The A-Team breathes new cinematic Issue 20, June 15 Film Reviews life into the hit s television series.
More significantly, all four films demonstrate Scott's continuing preoccupation with the relationship between the personal and the political. Cracks makes this point in microcosm by returning us to the kind of environment previously explored in the remake of The Browning Versionproduced by Scott with Mike Figgis as director.
In the earlier film, attention focuses on Crocker-Harris Albert Finneywho has spent all his life in the confines of a boys' public school. Unable to tolerate the students in his charge, he has earned the soubriquet "The Hitler of the Lower Fifth," whose idea of an "end of term treat" consists of having the students read the Agamemnon by Aeschylus out loud in Latin, even though none of them have the faintest idea what is going on.
However Figgis and Scott show that Crocker-Harris is a product of his environment — a school obsessed by history and tradition that represses rather than encourages individual talent.
Nonetheless the film offers some hope for the future at the end, as Crocker-Harris stands up in front of the school and apologizes to the students for his failings. When he started eighteen years previously he was something of an idealist; but now he has neither enthusiasm nor aptitude for the job. Once he has retired, he leaves the school for the last time and throws off his gown, symbolically suggesting that he has now rid himself of the shackles of his previous life and looking forward to a brighter, more tolerant future.
Eva Greenthe swimming teacher in Cracks, knows nothing of the outside world, having spent her entire life at a small girls' public school as a student and a teacher.
The Karate Kid
We know something scandalous has happened to her in the past — exactly what is left unclear — but the experience has transformed her into a helpless agoraphobic, who cannot pay a visit to the local baker's shop without breaking out into cold sweat.
Her whole life revolves around her girls to such an extent that she develops an 'unnatural' passion for some of them.
At the beginning of the film her favourite student is Di Juno Templea no-nonsense British girl with a talent for sport and leadership. The infatuation is doomed from the start: Exhausted, Fiamma collapses to the ground in an asthmatic fit; Miss G. Following Fiamma's death, Miss G. Although set in a quintessentially English milieu, Cracks makes some intelligent political points about the destructive effects of intolerance and xenophobia.
As in Kingdom of Heaven, many of the students in the school fear the presence of "the other" - in this case, Fiamma, who is not only Spanish and therefore bilingualbut appears far superior in the academic and sporting fields. Their pursuit of her represents their opportunity for revenge; to show the Spanish girl once and for all the supremacy of their English public school ideals such as strength and group as opposed to individual identity. These ideals have been corrupted: It is only after Fiamma's death that Di understands the implications of this belief.
The film's final sequence shows her embarking on a quest to find Fiamma's home in Spain; although she might never reach her destination, at least she has plucked up sufficient courage to reject the collective identity of the public school ethic and trust in her own convictions. Following a heart-transplant operation he discovers to his horror that he is gradually being transformed into a ruthless killer. As the film unfolds, Terry understands that he has been possessed by Vieillard's spirit: The surgeons were involved in an illegal organ scam, in which they deliberately removed the organs of terminally ill patients Vieillard includedand sold them on to hospitals desperate to perform life-saving operations.
Frances was an innocent victim; she was killed while trying to stop the surgeons operating on her husband. Terry kills everyone involved, and thereby enables Vieillard's spirit to rest in peace. With its emphasis on possession of a male individual by another life-form, the film has strong echoes of Alienas well as several episodes in the late s anthology series The Hungerproduced by Scott. In Battle of Smokefor instance, a male genie grows inside a woman, transforming her into a dominatrix. Tell-Tale asks us to consider whether there are any ways to protect oneself against this, particularly when it seems on the surface that Terry has been given a new lease of life as a consequence of his operation.
The film suggests that he has to learn how to negotiate between the two different sides of his character; to acknowledge the justness of Vieillard's cause while sustaining his own qualities as a working single parent. Such struggles recall similar conflicts in Poe's Tell-Tale Heart, between the old man representing the scientific, rational mindand the narrator the imaginative, Issue 20, June 17 Film Reviews emotional side.
Eventually Terry reconciles the two extremes within himself — despite the evil surgeon Dr. Lethe's Ulrich Thomsen's attempts to give him a lethal injection of potassium solution, Terry finds a hitherto undiscovered strength, enabling him to dispose of the surgeon once and for all.
This strength, it is suggested, derives from his ability to reconcile the two sides of his character. He becomes a much stronger, self-confident person. Terry's individual development also helps him to make a positive contribution to society, as he triumphs over the doctors who willfully try to end his life. Like Tyrell in Blade Runner, Dr. Lethe the choice of name is deliberate, as Lethe was one of the five rivers of Hades in Greek mythology is a brilliant surgeon trying to control his patients' minds through his experiments.
He claims that stealing organs can actually be considered a social service: However Cuesta suggests that this argument is specious: Lethe treats human beings as guinea- pigs, devoid of personality, who are ripe for financial and material exploitation.
In his way he is as intolerant as the students in Cracks, even though he conceals it under a veneer of professionalism. Robin Hood should be approached as a continuation of the story begun in Kingdom of Heaven: However Longstride is forced to flee back to Britain, having unwittingly become involved in a plot hatched by turncoat English soldier Godfrey Mark Strong to put the French King Philip on the English throne.
Crowe's Robin Hood believes in a strict code of honour, more precisely defined as tolerance, a belief in fair play and trusting in one's own convictions. This explains why he can command such loyalty amongst his followers. By contrast King John is a puny, wizened little man bearing a strong facial resemblance to Joaquin Phoenix's Commodus in Gladiator Short of funds, John imposes higher and higher taxes on his people; if they do not comply, he sends his troops in to take the money by force, or razes villages to the ground.
John cannot be trusted; he willingly agrees to cede power to the barons, but goes back on his word once the French invasion force has been driven out of England. For him the concept of 'divine right' assumes more importance than democratic agreement. Scott shows the contrast operating on a societal as well as an individual level. John's court — dominated by fear — with the idealized community in Sherwood Forest, where Maid Marian Cate Blanchett presides, where children play and adults happily partake of roast meat cooked over an open fire.
No one even thinks of imposing their authority by force; the Merrie Men would never let that happen. William Marshal William Hurt declares at one point that the strength of a nation depends on its people supporting one another "We are all Englishmen" — a point that Robin comes to understand when he discovers his noble parentage. Yet, as we have seen, Cracks shows how this community loyalty can be used to as a mechanism for social exclusion. Thus Robin Hood further suggests that community values can only be reinforced through democracy.
In a stirring speech to the barons, Robin declares that "in tyranny lies only failure;" the only way to deal with this is to cultivate the twin virtues of negotiation and mutual respect. Once such qualities have been acknowledged, then individuals should be able to work as a team; to suppress their individuality for the greater good.
To make this point clearer, Scott deliberately contrasts the English with the French invaders, who are both brutal and self-interested they rob dead English soldiers rather than treating them with the respect due to combatants in war. Whole villages are destroyed, the inhabitants slaughtered or burned alive, and women raped.
These sequences are reminiscent of the scenes in Gladiator where the Praetorian guards wreak havoc in the countryside around Rome by killing women and children including Maximus' Russell Crowe's family. While Robin mourns the loss of his fellow-citizens, he realizes the importance of putting such personal feelings aside and leading his troops in an effort to drive out the French invaders.
It seems somehow appropriate that Robin should shoot the arrow that disposes of Godfrey, suggesting that traitors never prosper once they encounter the representatives of honour and justice.
Crowe's Robin Hood stands out as a paragon of virtue. His northern accent might be rather shaky — combining elements of Liverpool, Nottingham and Sydney — but his convictions remain unshakable.
In one sequence he is faced with a choice between rescuing Maid Marian and a sheep from a bog; neither of them can move. He saves the sheep first, realizing that it cannot help itself. Marian objects predictably to Robin's apparent indifference, but secretly admires his decision — it is only a matter of time before they fall in love. Crowe's characterization holds the story together. As in Kingdom of Heaven, Scott uses landscape imagery to reinforce his political points. The French destruction is emphasized through panning shots of towns and villages razed to the ground, with smoke billowing from straw buildings set on fire.
As Robin musters his army to repel them, Scott introduces aerial shots of England's green and pleasant land, with the iconic white horse set on the northern face of the Berkshire Downs — a timeless symbol of tolerance and democracy.
Robin is not only fighting for the nation; his victory will ensure the Issue 20, June 19 Film Reviews future of everything England represents. Robin Hood might be set in England, but Scott clearly intends his ideas to strike a chord with anyone who believes in democracy as the foundation of a stable society.
Individualism certainly has an important role to play in promoting tolerance — as shown in the final sequences of Cracks and Tell-Tale — but Robin Hood suggests quite openly that national stability depends on individuals learning to co-exist with one another.
The A-Team likewise promotes community values, through a story set in the American present rather than the mythical British past. The film bristles with intertextual references to Scott's earlier work: The A-Team also follows Body of Lies in suggesting that the real 'enemy within' is neither the Iraqis, the Taliban or any other group of freedom-fighters, but rather the CIA, which controls US military operations through faceless operatives such as Lynch Patrick Wilson.
He is nothing more than a careerist, with little understanding of the responsibilities either to his staff or his country. The CIA willingly tolerates his behavior, allowing him to work under a pseudonym Lynch is not his real name and ensuring that he escapes punishment for his actions, once it has been revealed that he has been colluding in the illegal currency deal. While most of the action sequences are obviously tongue-in-cheek we know that none of A-Team will be destroyed, despite B. Baracus' Quentin 'Rampage' Jackson obvious fear of flying, or Murdock's Sharlto Copley rather haphazard approach to piloting, which puts the rest of his team-members perpetually at risk.
Yet the film suggests that, despite their efforts, the A-Team as a whole remain pawns in the larger scheme of things. Unlike their counterparts in the s television series, they cannot save America from destroying itself.
The Karate Kid () Movie Review
Although they successfully recover the plates used for printing the counterfeit dollars, they are immediately returned to their respective "detention facilities" as escaped criminals. The social values advocated by Robin Hood — teamwork, honesty and integrity — seem somewhat anachronistic in a contemporary world where nothing seems quite what it appears.
General Morrison Gerald McRaneywhom Smith idolizes as a representative of all that is good about American society — democracy, honesty, tolerance — turns out to be the fence in the currency deal; disguised as an Arab, he meets with Lt.
Peck Bradley Cooper to ensure its smooth progress. Even members of the US army are corruptible, so it seems. Superficially it would seem that The A-Team questions the points made by the other three films. On the other hand the film shows how the A-Team "twisted the system and it twisted [them]. Such 20 Issue 20, June Film Reviews values have little significance in a dog-eat-dog world in which governments — through agencies such as the CIA — seem hell-bent on carrying out a secret master plan for purely financial motives, even if that contradicts the ideals which the US Army are apparently fighting for.
On the other hand The A-Team values individual integrity; like Di in Cracks and Terry in Tell-Tale, the four men stand up for what they believe in even if they have to struggle to achieve it. As one of them observes: In his view the two are inseparable: Terry Bernard in Tell-Tale has to resolve his own personal struggles, so that he can become a better parent and hence make a positive contribution to his society.
However in certain contexts tolerance and loyalty are not sufficient in themselves to sustain the social order — especially in the world of The A-Team, where individuals are often treated as cannon-fodder in the government's overall scheme of things. Like Ferris Bueller's Day Off or Dirty Dancingthis is just one of those special, mid-'80s classics from which fans can quote countless scenes. And despite some dated details the big hair, the track suits, the funny-looking cars and wardrobethe story holds up remarkably well, because Daniel is a high-school Everyman.
He's not Gossip Girl rich or Zac Efron handsome or extraordinarily gifted in any way; he's just a new kid in town who's willing to train hard, actually get to know an older Japanese man most teenage guys would have made fun of, and better himself in the process. Oh, and he does a killer job at winning the girl, the championship, and the hearts of moviegoers everywhere. Continue reading Show less Talk to your kids about Families can talk about whether Daniel is the stereotypical "new boy in town" in The Karate Kid.
How does he feel about starting over in a completely new place? How does Daniel's relationship with Mr. Miyagi change both of their lives? This is at its root, an underdog story.