“In the second film the wardrobe people wanted to go glamorous. And they wanted to make Los Angeles look beautiful – that’s why all the colors are bright and friendly. Los Angeles is not like that – they made BREAKIN’ 2 as some kind of a WIZARD OF OZ of dance. And you know what? For a kid that never had anything, not even the money in the family to go to Disneyland – suddenly people were screaming, and cheering, dancing and being happy on the screen. That’s the fantasy. Maybe Los Angeles will never be that way, but Los Angeles was beautiful for one day when people watched BREAKIN’ 2. I think that’s nice.” -Michael “Boogaloo Shrimp” Chambers to Marco Siedelmann in the book Stories From the Trenches: Adventures in Making High Octane Hollywood Movies With Cannon Veteran Sam Firstenberg
BREAKIN’ was a huge hit for Cannon. It opened at #1 even though it was going head-to-head with Universal’s SIXTEEN CANDLES, and on almost 200 fewer screens. It ended up making $38 million, which was more than twice BEAT STREET’s total, and put it at #17 in the 1984 box office rankings, above such films as BACHELOR PARTY, RED DAWN, THE TERMINATOR and Cannon’s own MISSING IN ACTION. And if you scan down that list, way down to #102, you’ll find BREAKIN’ 2: ELECTRIC BOOGALOO.
That sounds more disastrous than it is, because only its first ten days of release were in 1984; its eventual total would’ve put it around #59. More notable than the sequel’s lower box office take is the fact that they got it into theaters less than 8 months later. But it wasn’t just a continuation – they put together a new team of filmmakers, headed by director Sam Firstenberg, who had just directed Dickey in NINJA III: THE DOMINATION (also released in ’84!), and they gave it a goofier, less reality-bound tone and style with more neon and rainbow colors in the clothes and graffiti. (read the rest of this shit…)
“That damn American ninja. Fights like a tiger. We’ll have to get rid of him.”
The opening credits of AMERICAN NINJA 2: THE CONFRONTATION feature a badass theme song (composer George S. Clinton, who had already done AVENGING FORCE for Cannon and Dudikoff, joins the series) as three dudes confidently cruise on their motorcycles, journeying through mountain roads. They’re wearing tinted helmets, so we wonder if this is Joe Armstrong, the American Ninja, and some other Army guys? Is it some scary villains he’s gonna have to face? Who is it?
They turn out to be some weinery dudes who drive up to a bar and immediately get bullied. One of them, Tommy Taylor (Jonathan Pienaar, BLOOD DIAMOND), steps away and cowers nearby while his friends get beaten up, and then all the sudden a bunch of ninjas walk in and carry them away.
In this enjoyable sequel Joe (Michael Dudikoff) and Curtis Jackson (Steve James) are still best friends, and still in the Army, now as Rangers. They seem to receive more respect now, and maybe I’m naive but when they’re sent on the mission that the last guys (the guys at the bar) disappeared on it really seems to be because of faith in their abilities, not to get rid of them. (read the rest of this shit…)
“You know, loners don’t go too far in this outfit.”
AMERICAN NINJA is a Cannon Films classic starring model-turned-action-star Michael Dudikoff as army-rookie-with-a-mysterious-ninja-past Joe Armstrong. I already reviewed it several years ago and in my opinion it was a well-written review with some points and some jokes that I wouldn’t have thought of now. For example I said that the ninjas in the yellow costumes would be good at hiding in a banana tree or a field of dandelions. You gotta have that youthful eye of the tiger to come up with that one.
But today I am revisiting AMERICAN NINJA for an important new series in which we will compare each installment of Francois Truffaut’s Antoine Doinel series to each installment of Golan and Globus’s AMERICAN NINJA series. Why, does the AMERICAN NINJA series follow the same character as he ages? Well, not really, I don’t think so, but I can’t think of a better pairing of quintologies to represent the full spectrum of cinema art from the respected and high brow (“brilliantly and strikingly reveals the explosion of a fresh creative talent… a picture that encourages an exciting refreshment of faith in films” wrote Bosley Crowther in The New York Times) to the… other kind (“Woefully acted, abysmally written… an embarrassment even when held to the low standards of grade C exploitation movies” wrote Candice Russell in The Sun Sentinel). By alternating between them and comparing and contrasting how they approach each chapter I hope we’ll find the true meaning of art or whatever. (read the rest of this shit…)
How the fuck does a guy become an American samurai? Well, in the case of Drew Collins (David Bradley, AMERICAN NINJA 3-V) when he was a baby he and his parents were traveling in a small plane that crashed into a tree, only he survived, and then he was raised by an old Japanese guy named Tatsuya (John Fujioka, ZATOICHI IN DESPERATION, AMERICAN NINJA, AMERICAN YAKUZA). Finders keepers, you know?
Basically it’s exactly like Superman, except being a white man in Asia doesn’t give him super powers. But he does really good in his sword training anyway. I’m not clear why his adopted father was a samurai swordsman in the 1980s, I suppose it’s kind of along the lines of being a civil war buff. In related news I would like to see a Cannon movie called JAPANESE BLUEBELLY. (read the rest of this shit…)
NINJA III is one of the only movies to really explore how much ninjas like yogurt
One of our nation’s perennial VHS favorites, NINJA III: THE DOMINATION, has recently made the transition to digital and high definition disc type formats courtesy of the heroes at Shout Factory. Check out my review of the new blu-ray over on Daily Grindhouse. If you also want to read a review I wrote of the movie a couple years ago then you can click here.
A few years ago when I wrote about ENTER THE NINJA and REVENGE OF THE NINJA I know everybody told me I had to watch part 3 and it was hilarious and all that. And I always intended to get to it but see I was on a serious ninja kick, I wanted real ninja action and not just some dumb bullshit to laugh at because a girl from BREAKIN’ gets possessed by a ninja.
But forgive me, man. I was on the outside. There was no way to really know without seeing it that NINJA III is a must-see. (read the rest of this shit…)
This review is dedicated to Ryan Kenner, who’s been bugging me to see this for almost a year, and to the soldiers and planners of the American Revolution, especially if any of them were ninjas (not sure)
AMERICAN NINJA is not something I consider a classic, but it is a solid, enjoyable b-movie and it finally made me understand the Michael Dudikoff phenomenon. When I saw him in a much later movie, BLACK THUNDER (a Stealth bomber thriller remade as Seagal’s FLIGHT OF FURY) I was surprised at his lack of fighting. I assumed he was some karate champion or something like most of the ’80s action stars, but when I looked him up I found out he started as a model. No wonder.
But in this movie wouldn’t’ve noticed, because he does do plenty of fighting and makes it convincing. His line deliveries are sometimes bad but they manage to make him not talk very much. In fact, he doesn’t speak for the first 15 minutes of the movie, it almost seems like he’s mute. (read the rest of this shit…)
REVENGE OF THE NINJA isn’t connected to the story of ENTER THE NINJA. Franco Nero’s White Ninja character is nowhere to be seen, defying the promise of his final freeze-frame wink. Which is bullshit, man. If you’re gonna wink – especially if you’re gonna freeze-frame wink – you better fuckin mean it.
However, Sho Kosugi (who died in part 1) is reborn as a different character, a collector of Japanese antique dolls whose family is killed by ninjas. His white friend convinces him to take his son and mom to AMerica to open a gallery for his dolls. And I don’t think I need to point out that any time in an action or fighting movie where you are discussing the hero’s doll collection you are on some paper thin ice. But I’ll be charitable and accept this as a fulfillment of the Theory of Badass Juxtaposition. (read the rest of this shit…)
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“In the second film the wardrobe people wanted to go glamorous. And they wanted to make Los Angeles look beautiful – that’s why all the colors are bright and friendly. Los Angeles is not like that – they made BREAKIN’ 2 as some kind of a WIZARD OF OZ of dance. And you know what? For a kid that never had anything, not even the money in the family to go to Disneyland – suddenly people were screaming, and cheering, dancing and being happy on the screen. That’s the fantasy. Maybe Los Angeles will never be that way, but Los Angeles was beautiful for one day when people watched BREAKIN’ 2. I think that’s nice.” -Michael “Boogaloo Shrimp” Chambers to Marco Siedelmann in the book Stories From the Trenches: Adventures in Making High Octane Hollywood Movies With Cannon Veteran Sam Firstenberg
The opening credits of AMERICAN NINJA 2: THE CONFRONTATION feature a badass theme song (composer George S. Clinton, who had already done 
“You know, loners don’t go too far in this outfit.”
How the fuck does a guy become an American samurai? Well, in the case of Drew Collins (David Bradley, AMERICAN NINJA 3-V) when he was a baby he and his parents were traveling in a small plane that crashed into a tree, only he survived, and then he was raised by an old Japanese guy named Tatsuya (John Fujioka, ZATOICHI IN DESPERATION, AMERICAN NINJA, 
A few years ago when I wrote about 
This review is dedicated to Ryan Kenner, who’s been bugging me to see this for almost a year, and to the soldiers and planners of the American Revolution, especially if any of them were ninjas (not sure)
(aka NINJA II)
