Remembering, Re-watching & Re-evaluating the Ronin Warriors Dub

Between June and August, I spent a teeny bit of my free time re-watching one of my favorite anime shows as a youngster: Ronin Warriors!  I remember when I learned about it in the late 80s and early 90s during trips to Thailand, when it was under its original title: Yoroiden Samurai Troopers.  Shows like this, along with other shonen favorites like Saint Seiya and Dragonball Z, were all the rage in Asia, and U.S. broadcasters seemed totally unaware of this.  But when it came out on Chicago’s UPN network in the mid to late 90s, my brother and I were ecstatic.  No more renting from Japanese home videos with no subs folks, we were now dubbed and hittin’ the big time.

And you know what?  After all these years of remembering it like it was gold on pancakes, my feelings about the show have shifted.  Dramatically.  Ronin Warriors is still good, but…     Well…..

Let me explain.

Like a lot of TV anime in the 80s, Samurai Troopers is about a group of young guys fighting evil-doers.  That’s a given.  However, its samurai theme in urban Tokyo was pretty unique at the time, and many fans will cite things like its awesome character designs, sense of horror and dread, along with it’s amazing music, as elements of the show that were key to its devoted following.  These are all things that continue to make me a fan of the show, and I’m almost 40!

My main issue with Ronin Warriors (instead of Samurai Troopers) stems from how the original Japanese story is retold for a North American audience.   A large bulk of Japanese names found throughout the original show were renamed to generic pan-Asian terms, the most egregious example being the show’s main baddie Lord Arago, whose name becomes Emperor Talpa for Ronin Warriors (which is probably taken from the Tibetan ‘Tulpa’, a term for a spiritual manifestation).  Other examples include the Chinese sounding transformation call, Dao Ji (whatever the fuck that means), and even a ton of incorrect translations for some of the virtues that each Ronin carries (Rowen may be ‘Life’, but it actually reads ‘Wisdom’).  For those that were uninformed in the 90s, Asian culture might be some throwaway gimmick that you could use to sell toys, but let me tell you something: that ‘Memoirs of a Geisha’ shit won’t work now.

Moreover, the RW dub finds a way to paper over the holes you can easily find in the English-language plot.  The biggest example that I recall stems from the portal / vortex that leads our heroes into the Evil Dynasty.  Much of the show’s first half concerns our heroes trying to find a way into the Dynasty to defeat the bad guys and save the city.  Whenever they’re overwhelmed by the Dynasty Warlords or some other villain, the Ronins get help from their mentor, a monk with a magical staff called the Ancient One.  As the show wears on, our heroes find themselves unable to enter the Dynasty through their heavily guarded gateways.  This (and a whole slew of other events that I won’t get into now) forces the Ancient One to intervene one last time against Talpa.  After a grueling duel of magic against the ghastly emperor, the Ancient One sacrifices his life and remaining energy to open a massive portal that bypasses the Dynasty’s defenses to allow our heroes to enter Talpa’s empire.  All good, right?

Well, the second half of the show requires our heroes to go back into the Dynasty once more.  And yes, there’s a massive portal in the middle of the street, just like in the first half of the show, but guess what?  There’s no explanation as to why this portal showed up.  Really.  None.  Nada.  Zip.  The Ancient One is already dead.  There was no sacrifice made.  Hell, I bet the original Japanese plot must’ve explained its reappearance somehow, but the dub found some way to just paper over it with “Let’s kick Kayura’s butt” or something.  If you don’t believe me, go on over to Amazon Prime and watch the damn show again.  Seriously.

Now, let me be clear and say that I adore the Ocean Group and their collective of amazing voice actors.  They helped make anime so much more accessible in North America thanks to all the hard work they put in for localization.  Remember the Viz Video dubs of such OVA greats like the Fatal Fury franchise, Ogre Slayer or even Ranma 1/2?  Yeah, that’s ALL thanks to them.  I would not be the anime fan that I am now if it weren’t for their efforts.

However, a lot of the nuances related to Japanese history are lost in their work with Ronin Warriors.  We don’t get a clear sense of the ‘timeline’ that occurred in relation to historical Japan, and furthermore, we don’t even know that the Ronins themselves were portrayed as descendants from renowned samurai (you’ll only get this hint from the original Japanese plot).  Instead, we’re given generic pan-Asian names, poorly translated kanji and a brief whiff that maybe, just maybe, this all takes place in Japan. Despite my love of the dub (it’s natural, well-spoken and free of awkwardness), we really don’t know anything other than, “The Dynasty is here, and we’re gonna kick its butt!”

Though, to be fair, that’s not to say that you won’t have a good time watching Ronin Warriors, because if you’re new to it, you totally will. Especially when it comes to the voice acting.  So yeah, I’m totally nitpicking throughout this piece, but there’s also some rad vibes coming from our heroes.  Ryo’s voice is more or less a California surfer, while Rowen’s (my favorite) is a total New Yorker.  And what about Cye’s English accent, ‘eh mate?  It’s all rad, and to kid in the 90s, that’s all that matters, right?

Ronin Warriors is the kind of small phenomenon that we American anime fans look back on fondly because, like DiC’s dub of Sailor Moon, Funimation’s version of Dragon Ball Z and Toonami’s riff on Gundam Wing, it was an affirmation that North American TV was finally giving us the televised anime goods that the rest of the world got without a hitch.  From the mid 90s to the early 2000s, all of us were beginning to think that anime wasn’t just gonna be some fledgling subculture, but a real interest that lots of North Americans would grow to love.

And you know what?  It has.  It really has.

Anime is as popular as its ever been here.  Conventions pop-up all over the continent, where it isn’t a stretch to see fantasy, anime and sci-fi booths all under the same roof.  Hell, even cosplay is becoming more mainstream now, and Studio Ghibli is beloved among American otaku and mainstream film critics alike.  There’s even Ghibli theater screenings folks!  Theater-fucking-screenings!  That was unheard of in my youth.

But with all that comes a lot of other baggage too.  Namely, the misrepresentation and erasure of Asian culture.  No amount of Pokemon donuts can hide that fact that Takeshi / Brock really loves onigiri, or that Serena / Usagi from Sailor Moon goes to school in Japan.  Even my beloved Power Rangers franchise can be guilty of this (Power Rangers Samurai, hello?).  These last few months had me re-live those awesome times when my brother and I would come back home from school to see a new episode of the Ronin Warriors.  Sadly however, I’m not that pre-teen from the 90s anymore.  I’m an aging, Asian-american anime fan whose life has seen too much whitewashing, erasure, and bullshit when it comes to Asian representation on TV.  I ain’t content with being the MC’s best friend, the extra in your ‘Chinatown’ episode, or the back-up dancer to your Asian-themed music video with NO Asian lead artist (and fuck you asian folks who do the reverse).  No more white girls with chopsticks in their hair, no more shit-dubbed kung-fu flicks with fucked-up accents, and, lastly, no more samurai-themed 80s anime that fucking mistranslate 智 into ‘Life’.

I came into this to reminisce about one of my favorite anime shows, but I came out realizing that, for all the good that it gave me in my youth, Ronin Warriors left out a ton of shit that would’ve made it even more plausible for someone like myself.

Then again, I wouldn’t be writing any of this if it hadn’t been for Amazon Prime listing the show as ‘Samurai Troopers,’ instead of ‘Ronin Warriors.’

The Good, The Bad and The Ugly: Netflix’s Wu Assassins

Whenever I need to take a break from lamenting about the insanity of global politics, I watch Netflix or Amazon Prime.  I recently binged on the latest seasons of GLOW and Mindhunter (both phenomenal by the way), but afterwards, I went full-on Indiana Jones and ventured into Iko Uwais territory with Wu Assassins.  For this review, I’m gonna talk about what’s good, bad, and ugly, about Netflix’s latest action show.

THE GOOD:  The NUMBER ONE REASON why you should be watching Wu Assassins is for the fights alone.  End of fucking story.  Dan Rizzuto’s choreography and Kimani Ray Smith’s stunts are absolute boss here, and Iko Uwais SHINES in every fight he’s in.  It’s like you’re watching the rapid-fire fighting of The Raid, but on a polished AMC show.  Furthermore, everyone, from Juju Chan, to Li Jun Li to Katheryn Winnick, is fighting like madmen here.  Seriously.  Every single actor on this show put EVERYTHING into these fights, and it shows.  One of the highlights for me involves Lewis Tan going toe-to-toe with a knife fighter in Episode 9, while Iko is taking on three guys at once!  This is the kind of combat you wanna see on a show like this, and it’s well worth the price of admission.  If you’re here to see an ASS KICKING CAST with a REMARKABLE stunt team, look no further than to Wu Assassins.

THE BAD:  Well, if you came here for the fights, then you’re in luck.  However, what sucks about the show is that, like a lot of martial arts themed shows, it’s lacking in coherent plot.  It’s really REALLY all over the place here, with a hokey premise involving the Wu Xing, terrible pacing, jumbled character motivations and forced musical choices (some of the rap really, REALLY doesn’t work for a LOT of episodes).  Furthermore, there are way too many characters involved here, and the show could’ve done more to whittle down the cast here, especially in regards to Tommy Wah and Ying Ying.  Lawrence Kao did do the role justice here, but I felt Tommy was a massive hindrance to the team overall.  Ying Ying did the plot no favors either and, in my opinion, helped make the show verge on more stereotypical ground with her vague intentions, arrogant posturing and overall annoying demeanor.  If the show needed a Miyagi-esque Sensei / Sifu character, they should’ve had the gall to write one that doesn’t act like an asshole manager who demands results yet gives no guidance.  Fuck that shit.

THE UGLY:  Is it me, or is the CGI on this show fucking ugly?  I mean really REALLY UGLY.  For all its combat merits, this show has some 3DO level graphics here.  It’s especially worse when it comes to the fire effects in the first few episodes.  I mean jeezus, it makes Byron Mann look cheap, despite him being a total badass as the ever-conflicted Uncle Six.  These effects only really work in dark settings (see Alec McCullogh’s first encounter with the Water Wu), but the production team didn’t take that into consideration for large parts of the show.  What results is a genre show that has fantastic martial arts trappings, but poor supernatural effects.  To the Wu Assassins post-production crew: please up the ante when it comes to the computer effects.

All in all, I highly recommend that you check out Wu Assassins.  It ain’t perfect, but its got a stellar cast and some wicked fight scenes that, I believe, are worth experiencing.  Though it’s riddled with poor pacing and lackluster CGI, it’s my hope that they’ll fix these hiccups for Season 2.  Furthermore, it’s not everyday that you see a Southeast Asian guy headlining a Netflix TV show, so, in a way, you’re patronage of this show is kind of contributing to the un-whitening of American TV, and that’s a good thing!  With shows like Warrior following in the footsteps of the recently finished Into the Badlands, it’s my hope that we’ll be seeing better martial-arts themed shows from the U.S. eventually.  Well, at least ones with better CGI.

Naika Reviews “The 8 Diagram Pole Fighter”

Of all the Shaw Brothers films that I’ve watched over the last few years of my life, I just keep coming back to The 8 Diagram Pole Fighter.  I loved the ultra-violent Five Element Ninjas, and I just recently viewed the dark and moody Ti Lung film, The Magic Blade, so the studio definitely knew what it was doing when it made this immense, yet diverse library of action films year after year.  So in one sense, this movie shouldn’t have stood out that much.  On the one hand, 8 Diagrams is a by-the-numbers tale involving personal and familial dishonor, but on the other hand, it’s an action-packed whirlwind of mayhem featuring some of the best fight choreography imaginable. Director and fight coordinator Lau Kar Leung has helmed many, many excellent films for the Shaws throughout his career, including the 36th Chamber of Shaolin, My Young Auntie, Heroes of the East and Martial Club, but what makes 8 Diagrams so powerful is its raw blend of savagery, angst, betrayal and retribution.   There’s no doubt that this film has some flaws, but I guarantee you that it will be one of the most memorable Shaw Brothers offerings one can ever recommend to those who love kung-fu films.

The first thing that needs to be fleshed out about this film is the basis for the plot.  8 Diagrams is loosely based on a collection of  mostly fictional folk tales, novels and plays about the Yangs, a Song Dynasty military family known for their strength, bravery and loyalty.  Led by patriarch Yang Ye, the large family helped to defend China from both the Khitan-ruled Liao Dynasty and the Tangut Western Xia Dynasty.  Most notably, Yang Ye had seven sons who he apparently rode into battle with and two battle-hardened daughters, all with his wife She Saihua, who was adept in both martial arts and archery.  However, as some of the stories indicate, Yang Ye’s fellow generals had grown jealous over his exploits, including Pan Mei, who would be one of the main antagonists of the film.  These rough details would eventually become the backbone of the 8 Diagram Pole Fighter.

The film basically begins with the jealous Pan Mei, as he, more or less, bullshits his daughter, a consort to the Song Emperor, into sending troops out to wreck the Yang family during their Northern campaign against Liao invaders.  From here, we cut away into battle where Yang Ye and his seven sons are introduced, fighting against the Liao.  They wreck the invaders with their immense spear-fighting, but out of nowhere, Pan Mei emerges .  With a Liao General and the Liao Prince (portrayed by the amazing Wang Lung Wei) by his side, it’s revealed that Pan Mei has laid a trap for Yang Ye in order to not only get rid of his rival, but to help the Liao Dynasty take over.  The Yangs are furious, but the Liao have a new weapon under their sleeve that’s basically a staff that ensnares the Yangs’ spears and makes their spear-fighting obsolete.  With this new weapon, the Liao make short work of the Yang family as brother after brother is slaughtered.  One is hung up by spears.  Another is trampled to death.  One is stabbed in the belly and so on, and so on.  Amidst this chaos, only Yang Liulang (the 6th Son, played by the late Alexander Fu Sheng) and Yang Wulang (the 5th son, our main character, portrayed by Gordon Liu) are left, while Yang Ye, cornered by Pan Mei to surrender, commits suicide instead.

With Gordon Liu’s character lost in the wilderness after the battle, Fu Sheng’s 6th Son goes insane and straggles on home.  It’s through him that much of the film’s angst and dishonor is exemplified once he encounters both his mother and sisters.  This scene is particularly gripping given that the 6th Son details the deaths of all of his siblings under a spell of  child-like madness while both his family and servants react in horror with each new grisly revelation.  The scene ends in what would be one of the film’s penultimate scenes, where the 6th Son finally reveals the fate of his father to everyone.  His Mother’s faints, the sisters kneel in mourning, and these actions ripple out as the surrounding servants all kneel in sadness as they take in the realization that the entire family is finished.

After this, the rest of 8 Diagrams’ running time is spent cutting back and forth between what happens in the Yang household and the fate of Yang Wulang.  Much of what happens at home relates to how the family deals with the 6th Son’s madness while She Saihua, his mother, navigates new obstacles once Pan Mei names the family as traitors.  As for Yang Wulang,  I think it’s safe to say that it’s almost a retread of the 36th Chamber to some degree as he, after surviving a narrow escape from Liao pursuers, decides to leave worldly matters to become a monk at Wutai Mountain in Shaanxi Province (notice that this is NOT Shaolin Temple in Hebei).  Before doing so however, he angrily says goodbye to his life as a soldier by chopping off the blade of his spear, turning it into a staff.

What follows is a riptide of self-reflection, anger and training as Yang Wulang does his utmost to earn his keep as a monk.  The training sequences in particular are a highlight for their focus on staff-fighting with a wooden wolf dummy (a canny metaphor for the film’s antagonists).  Another thing to note is the amount of time it takes Wulang to ‘mellow-out’ his war-like temperament.  This is exemplified in an impressive training sequence where he uses his staff to untangle a bundle of tree vines.  It’s all about self-cultivation here, and for some brief moments in the film, Wulang’s desire for vengeance slowly goes by the wayside.

However, things all go to hell once the great Kara Hui is involved.  Through a series of situations that will probably spoil a great deal of the film, Kara’s 8th sister tries to get in contact with Yang Wulang, but unfortunately for her, Pan Mei gets a whiff of this and decides to intervene.  Luckily for us, Wulang get wind of this himself, and feels compelled to save her.  By this time in the film however, Wulang is already a high ranking monk who is, more or less, a shadow of his former self.  The Grand Abbott, portrayed to amazing effect by the late, great Phillip Ko, senses this in his pupil and challenges him, giving us one of the most remarkable fights ever put into film.  Seeing this one fight on YouTube alone was THE reason why I sought out this classic, especially since it features some very complex set pieces.  If you don’t believe me, see it below.

However, a Shaw Brothers film isn’t complete without a final fight, and by all regards, it is MONUMENTAL.  I refuse to spoil the details but all in all, it’s a whirlwind of mayhem, revenge, blood, screaming and a demolished inn.  It’s one of the most satisfying brawls that I’ve ever laid eyes on and it continues to call out to me whenever I need my Shaw action fix.  If anybody is STILL on the fence about this film, then definitely see it for this last fight alone.

Overall, 8 Diagram Pole Fighter is, to me, one of the best offerings I’ve ever experienced from the Shaw Brothers library.  It not only illuminates a little-known piece of Chinese history to Western audiences, but it does so with drama, angst and god-tier fight choreography.  Gordon Liu, Kara Hui and the rest of the Lau Kar Leung gang are at the peak of their powers here, and it’s a total shame that more couldn’t have been done with Fu Sheng’s character due to his death on set.  If there was anything else I could say that were negatives about the film, it would probably have to do with the inaccurate subtitles from Dragon Dynasty, along with the film’s brief conclusion.  Otherwise, 8 Diagram Pole Fighter is an amazing film that not only deserves repeated viewings, but it demands a spot on your DVD shelf, reminding us all how awesome Hong Kong action films used to be.

Naika Talks TIME FORCE: The Show That Brought Me Back to Power Rangers

It was in 2001 when I first ran into Time Force on a Saturday morning.  As some of you may know, I was a big devotee of the Power Rangers during the Saban / Fox Kids days but veered off of it after the amazing end of Lost Galaxy.  The time travel aspect seemed a bit weird to me and, frankly, I didn’t bite.  Fast forward 14 years later in 2015, where I found myself not only watching Linkara’s History of Power Rangers to kill time, but returning to where I left off in my fandom of the show.  That’s right peeps, I finally saw Time Force and I LOVED IT.  Everything about the show was so fun yet fresh, while still retaining that campy attitude that made MMPR so lovable at the time.  Looking back, I can safely say that thanks to Time Force, I’m finally back to being a Power Rangers fan.

14 years is a long time, and much has happened to me in my life.  When I finally sat down to watch Time Force, the first thing I thought to myself was “Jesus, I should’ve watched this back in the day!”  However, if I did, I probably wouldn’t have been that productive during my college days.  Besides, try telling a girl in college that you still watch the Power Rangers at that time and I’m SURE you would’ve been laughed off the park.  Anyways, what I SHOULD say is that my regret for not watching Time Force came much earlier as I watched Linkara’s review of it.  Oddly enough, it didn’t spoil anything for me.  Instead, it primed me for the awesomeness that would come when I finally saw Wes and the gang in action against the madness of Ransik.  Full of awesome action and a decent story (for a PR show), Time Force not only helped me rediscover my love for the PR franchise, but it was a way for me to pass the time while living alone.  My girlfriend at the time (now wife) had to relocate for her Ph.D., and it would take me almost 10 months to reunite with her.  It wasn’t easy living for either of us at that time, but we made it work.  Looking back now, rediscovering the Rangers really did cheer me up because living without your girl is utter hell.

What I love the most about Time Force is how much of a goofy family the team is, and how important the idea of togetherness is to the group.  In many ways, Jen, Lucas, Trip, Katie, Wes and Circuit are like college roommates who not only had shitty jobs, but lounged around on their free time, ate tons of junk food, lived in a drafty apartment (clock tower), watched movies and played jokes on each other.  Mind you, this is how they are WHILE they’re catching bad guys and being Rangers.  It’s as if the Power Rangers franchise grew up with its audience, where at first, it started out as a tale about positive high-schoolers who wanted to save the world, and they would slowly mature into adults who either went off to discover new galaxies, joined a Ranger version of the National Guard or became Timecop impersonators seeking to relive their college days.  Whatever the case may be, these later seasons after Power Rangers in Space displayed a more grounded sense of friendship and togetherness under the backdrop of much darker themes, with Time Force being the best of the three.  This not only makes Time Force a perfect season for occasional binge-watching, but it’s also a great introduction to the Power Rangers Universe for new fans (i.e. My Wife).

Now, a show like this wouldn’t be what it is without the action.  The Timeranger footage first of all is amazing, so we seriously have to give it up to Toei and the JAC Stunt Crew for making the Japanese action such a thrill to see.  However, a PR show wouldn’t be what it is without Koichi Sakamoto and his stunt team for truly bringing the pain when it comes to the U.S. fight scenes.  There’s a plethora of painful falls, combos and acrobatics here in Time Force, and Koichi’s gang do their utmost to bring you explosive action from start to finish. The stunt team even have fun with themselves by filming an impressive yet hilarious homage to Jackie Chan with the fictitious “Frankie Chang.”  Although Koichi’s crew does double for the Ranger actors frequently (plenty of wigs and stuff), he does give the likes of Erin Cahill, Kevin Kleinberg, Michael Copon, Deborah Estelle Phillips, Kate Sheldon and Jason Faunt the chance to do some of their own fighting, which is always neat to see.

However, the standout stunt fighter in Time Force would have to be Dan Southworth.  The stuntman / actor did an outstanding job with his portrayal of Eric Myers, the Quantum Ranger, and took the fandom into new heights as he blurred the line between being a rival and being an absolute bad-ass.  Besides doing all of his own stunts and fight work, he’s proved himself to be one of the best actors on the show by making Eric the kind of anti-hero that hasn’t been seen on Power Rangers since the Magna Defender.  As Dan has stated in many interviews, Koichi Sakamoto had a huge hand in giving him the chance to audition for Time Force, and it’s paid off massively for both him and the Power Rangers franchise.  From the stunts to the explosions, from the fights to even Dan Southworth, Time Force wouldn’t have been as good without Koichi Sakamoto at the helm, and it shows.

Another big element that made Time Force such a hit would have to be the villains.  Without question, the tokusatsu monster designs are amazing here, but what I’m really talking about is the characterization of Ransik, Frax and Nadira.  Vernon Wells was totally over-the-top as our main antagonist, yet he gave so much memorable depth and grayness as Ransik that you can’t help but sympathize with his lot in life.  And he had bone swords!  That is fucking COOL!!!  Nadira on the other hand can be a bit strange for a villain at first, but trust me, you’ll warm up to her eventually, especially towards the end.  In many ways, she’s like a psycho valley girl… with superpowers.  Lastly, Frax deserves special mention as a villain who’s maniacal, cunning and duplicitous.  However, as many of us know, Frax also has secrets of his own buried in the past that, in many ways, make him more man than machine. All in all, Time Force would never be what it is without villains that not only engage our heroes in equal standing, but challenge our own notions of what a villain on Power Rangers can be.

Another element that I can’t leave out when talking about Time Force is the Zords.  They are amazing in this season, and this is especially the case for the Time Force Megazord.  It’s the first time in the series where we get to see the main megazord exhibit two separate modes of transformation which yield two different combat modes.  The Mode Blue Time Force Megazord utilizes quick moves, jump kicks and fast-paced gun-fighting to wear down opponents.  The Mode Red Time Force Megazord however is used more often and has that conventional robot look, especially since it utilizes a saber and shield.  Mode Red also has the coolest finishing move for a Zord with what I call the “Countdown Slash.”  When a mutant is hit with this, time stops, the Megazord Saber acts like a clock and once all the hands hit 12, the Rangers say “You’re Time’s UP!” This freezes our adversary down and he or she gets sent to the slammer.  Neat, huh?  Furthermore, the Time Force Megazord has a host of other robot allies, including the Time Shadow Megazord (which can combine with the Time Force Megazord to make two additional modes for the Shadow Force Megazord) and the Quantum Ranger’s awesome Q-Rex.  Now it might not sound like a lot of zords, but trust me, Time Force has got your robot fix covered!

Finally, Time Force wouldn’t be such a standout season without the amazing work of the main cast.  Each and every one of the main Rangers brings something so fresh and unique to the franchise that it begs you to wonder why they didn’t go ahead with that rumored second season.  Now, the first shout-out most definitely goes to Erin Cahill’s amazing performance as Jen Scotts.  She was the first Pink Ranger to act as a leader on Power Rangers and showed all the nerve, emotion, control and conviction to earn that title.  This is especially evident in the first few episodes because when we first meet Jen, everything comes crashing down for her after losing Alex.  However, events like this help Jen grow into a capable and empathetic Ranger who loves her team, sticks to her ideals and never gives up.  It isn’t easy being both a leader and a woman in the superhero world, but Jen shows us that vulnerabilities can lead into strengths in the most dire of circumstances, making her one of the most memorable Pink Rangers in Power Rangers history.

Much love also goes to Katie Walker, portrayed by Deborah Estelle Phillips.  Katie in many ways is the true big sister of the group, who displays not only superhuman strength but a super gigantic heart.  Whenever she’s not clobbering Cyclobots, she’s giving emotional support to the team either through funny banter or rib-crushing bear hugs.  This makes episodes like “Future Unknown” such a treat for fans who want to see more from her.  Oh, and let’s not forget “Legend of the Clock Tower,” where she basically meets a crappy poet, beats up colonials and changes time for good (holy shit)!  As many of us know, Katie gets the least amount of development as a main Ranger, but that doesn’t diminish her standing in my book.  Like Tanya and Aisha before her, Katie goes into the history books of the PR universe as an amazing female character who can not only topple armies and save the world, but can do so with a whole lot of heart and soul.

Since Time Force is a show that involves high-tech officers from the year 3000, there’s nobody that visually embraces this notion more than Trip & Circuit.  One is a green-haired alien genius with a crazy gem that helps him see into the future, while the other is a super-duper cute baby robot owl who can summon zords.  Seriously, can you beat that?  That’s like the dynamic duo times ten!  Also, my wife LOVES Circuit, and it’s especially cute to see him interact with all the Rangers (including Katie at the end of the heartbreaking-yet-adorable-but-still-ominous “Circuit Unsure”).  Now among the Rangers, Trip is the gentle genius who’s got a heart of gold, but has a tendency to be a bit naïve with folks who will take advantage of this.  Nevertheless, I think it’s that innocence and willingness to trust in the goodness of others that makes Trip such a positive character on Time Force, especially in episodes like “Trip Takes a Stand.”  And if he’s ever in a pinch, Circuit arises from his backpack to the rescue.  Like Trip, Circuit’s very innocent, but he’s always willing to go above and beyond to help the Rangers save the day.  This obviously puts him at risk, and unfortunately, he does get abducted, tampered with, and even takes a bullet for the team.  However, that only means that Circuit is a lovable bad ass that, like Trip, can go the distance.  Remember, this is the same lovable owl that told ERIC, THE QUANTUM RANGER, to go do his fucking job during “Movie Madness” (my wife loves that scene because Circuit goes “WHOOOOAAAAH” when Eric tries to swat him off of his SUV).  Lovable to a fault, Trip & Circuit are the tech wizards of the team, but just because they’re nice doesn’t mean they can’t whoop your ass sideways.

However, I seriously need to put a word in about Lucas Kendall.  There isn’t that much to Lucas since he’s either chasing girls or traffic tickets, but he’s shown to have a lot of consideration for others once he warms up to them.  Whether it was about Trip being a Xybrian on the first episode of the show, or when he’s dealing with Dr. Zaskin’s daughter in “Bodyguard in Blue,” Lucas can get pretty annoyed with others who inconvenience him.  However, that goes full 180 once both parties are put in a life-or-death situation.  Another thing you’ll notice about Lucas is that he has these suave mannerisms that he exhibits throughout the show.  These can include his obsession with hair gel, love of cars, his grin and even his tendency to straighten his hair, especially during his fight-and-chase in Part 2 of “Movie Madness.”  Hell, he even pioneered the Polaroid Selfie in “Dawn of Destiny!”  There may not be much to Lucas, but all in all, he’s cool.  Besides, how many suave, Asian, race-drivin’ time cops have you seen on TV anyways?

Lastly, we need to have a word about Jason Faunt as Wes Collins.  Despite being a clueless rich kid, Wes’ enthusiasm about being a Ranger gave him the impetus to fight for his place within the team.  Furthermore, his happy-go-lucky nature, selflessness and overall status as ‘the reluctant heir’ was a breath of fresh air for the franchise, where Red Rangers generally seem to be born leaders chosen by fate.  However, in order for Wes to have any sort of character development, he needed help, and his interactions with his Father, Eric, Dr. Zaskin and the rest of Time Force were instrumental in giving us a sense of how far he’s come since the beginning of the show.  Finally, Wes’ story can’t be complete without his tense-yet-tender relationship with Jen.  It’s clear early in the show that he simply rubs her the wrong way in almost every department, especially in terms of looks (ahem, Alex).  However, they slowly begin to trust each other like real partners would, making the last episode of Time Force such a bittersweet moment once everything is said and done.  All in all, these are the reasons why Wes is one of my favorite Red Rangers of the Saban Era.  Not only is he willing to sacrifice everything for love and friendship, but he’s a carefree and spirited guy who’d love nothing more than to do the right thing as a Power Ranger.

Despite its inherent awesomeness, Power Rangers Time Force isn’t without its faults.  I think we can all agree that there’s some plot holes peppered throughout the show, where we’re left wanting a bit more explanation with respect to the future.  Nevertheless, the writers did an excellent job adapting Timeranger to make a show that not only stayed true (to a degree) to its source material, but added enough detail to make Time Force unique in its own way.  This season of Power Rangers is nothing like the campy high-school antics we would find in the first five seasons, but one full of consequences, loss and ultimately, separation.  However, that’s also complimented with an amazing level of mirth, camaraderie, reconciliation and forgiveness.  It’s easy to use the Angel Grove years as a way to dismiss the franchise as a whole, but take one good look at Time Force and you’ll see that it’s not only a great kids show, but an amazing landmark for the Power Ranger franchise in terms of risk-taking.  Time Force was the PR show that finally got honest with itself to make something memorable, and to this day, fans cite it as one of the best seasons of the Power Rangers Universe.  It’s the season that, in many ways, put action and characterization ahead of super powers.  It’s the season where we lose a Ranger in the FIRST EPISODE.  It’s the season where thirty / forty-somethings can ask themselves, “Was I like that in 2001?”  It’s the season where women aren’t sidelined BUT are actually leaders okay, LEADERS!  It’s the season where villains can finally find a path into redemption and yes, it’s the season where I, after 14 odd years, can finally say to myself, “I love the Power Rangers, and you know what?  That’s okay.”  Thank you Time Force.  Thank you for bringing me back to the action.

Hungry for action? Naika Reviews “Wheels on Meals”

(From L to R) Jackie Chan, Sammo Hung and Yuen Biao are ready to whip some Catalan ass in “Wheels on Meals” (1984).

By all accounts, the immigrant experience for anyone anywhere will always be a tough one.  From learning a new language to shifting towards new customs and eating habits, the road to both assimilation and success is a long and confounding one with few tangible rewards hanging at the end.  Countless stories have been told to illustrate these perils, but since this article is a film review, I am obviously obliged to say that all of these stories suck until it’s put on a reel.  With all this in mind, I think it’s safe to say that film has always been a veritable medium for expressing these harrowing journeys of migrants seeking fresh opportunities elsewhere, but none have ever seemed as entertaining as one particular venture involving three “dirty Chinamen” rampaging the streets of Barcelona in what would be one of the greatest fucking films the 80’s had ever seen, and that film is Wheels on Meals.

Set amidst a multicultural Barcelona in the early 80’s, the film draws on the ordinary exploits of two migrant cousins who run a Chinese fast food van, Thomas (played by the awesome Jackie Chan) and David (played coyly by the acrobatic Yuen Biao).  The opening scene depicts their daily routine of stretching and sparring before getting the van going for some lunch time goodness, for which the people of Barcelona seem to enjoy rather well.  However, the business is always beset by colorful delinquents, for which the two cousins are more than capable of dispatching in grand style.  It seems rather odd to find two of Hong Kong’s most well known action stars (count in director / writer / God Sammo Hung in the mix and you have three) making ends meet in Spain, but the welcome change in scenery makes the film an adventurous ride from the get go.  Sure it’s not the familiar sites of Asia, but seeing these guys wow the crowds with their stuntwork throughout Barcelona must’ve been something else.

Things start to become complicated with the inclusion of Silvia (played by the stiffy-riffic Lola Forner), a troubled pickpocket who David goes head over heels for.  She’s obviously the proverbial trouble woman for these two, even going so far as to play hooker to snatch some cash; and if that’s not all, we’ve got a bumbling private eye named Moby (played by Sammo Hung, who it seems, is make an ode to Yusaku Matsuda’s role in Tantei Monogatari) thrown into the mix too.  And with some shady noblemen and quickfooted characters in suits, the movie quickly become one memorable action romp throughout the streets of Spain.

Lola Forner is hankering for some asian dong in “Wheels on Meals” (1984).

Sammo Hung’s eye for action is really what made this film great, and if the fight sequences don’t grip you in some way, then chances are you’re a fucking asshole.  I don’t care if you’re Mother Theresa or St. Peter, but if I don’t hear a “Holy Shit” or a “How the fuck did Benny kick out those candles” from your lips then you must be some asshat that hides under a rock and watches shallow shit like “The Real Housewives of Atlanta” or something.  Even the little piddly fights out on the street are so hard hitting that you could swear you heard your grandfather shake in his coffin when Yuen Biao spin kicked some dirty Spaniard onto the pavement face first.  And let’s not get started with Jackie Chan here.  My boy had the BEST fight in the film, if not, one of the best fights EVER filmed (with Benny “The Jet” Urquidez of course).  I mean look, LOOK at this fight!!

See?  What the hell did I tell ya?

There’s so much that has been said about this film over the course of its life, so to be perfectly honest, there’s not much I can add that others haven’t already highlighted.  On the surface, Wheels on Meals is a tale of two guys trying to make a unique living in a place that doesn’t entirely seem like home to them, but in its heart, it’s an action movie made for action fans by action gurus.  It’s clear that I love this movie a lot, but the love has to spread.  From the setting, to the goofy characters and finally the fights, Wheels on Meals is a window to what Hong Kong action cinema offered in the 80s.  For some of you out there, this may not be your cup of tea, but if you’re looking for something that will spark that legendary love for asian action cinema that some of us film geeks have, then look no further.  Wheels on Meals is a gem, and yes, it’s streaming on Netflix too, so watch it, A.S.A.P.!!!

Jackie Chan (L) & Yuen Biao (R) are trying to make a living in Barcelona in Sammo Hung’s “Wheels on Meals” (1984).