Introduction

“Don’t even think about it,” I say, as soon as they open their mouths.

You see, I’m Jewish, my skin color is white(-ish), and I’m a film snob. As such, this is not a film I’m supposed to take so seriously, according to certain snobby associates with no taste whatsoever.

“But this is an urban film,” they say, with a hint of racism. “It’s silly shit. How can you call it a classic?”

“Because I’m right,” I respond. “Let it be.”

“You think you’re the demographic they went for?”

“I told you don’t even think about it but I promise you this. If you ask me again, I’ll unload with a verbal barrage more intimidating than Ernie Reyes, Jr.”

“Who?”

“Nevermind.”

“Well?”

“Well, you asked for it …”

If you don’t get it, look it up, but you can’t convince me the film’s legendary fortune cookie factory was not a shout-out to my peeps.

And that’s the big picture with this film. It’s fun, it’s smart, and it’s appropriate for all audiences.

And … a reality check to those who believe no one other than young African American kids would be woke enough in 2020 to appreciate a perfectly cornball movie. They’d be wrong. Regardless, no one was woke back in 1985 when this most excellent film was released.

They weren’t lit, either.

The film, by the way, was also perfectly diverse.

Would you have messed with Ernie, who had only a bit part but nonetheless? You’re a better person than I.

“The Last Dragon” wasn’t a black film, or a white film, or an Asian film. “The Last Dragon” was for all of us and you know what made it particularly special?