Eight years earlier, as an episode of Vice's Outsider details, Kim had come to the United States in search of the elusive American Dream, and lo and behold he had found it. What had started as a single facility had grown into a regional empire – each operating independently, but each adhering to the core philosophies established by Kim. At the time, Kim was something of a minor celebrity in both his native Korea and his new home of Central Florida – partly due to his jovial personality that couldn’t utter a negative word if he wanted to, but mostly thanks to his armada of self-built Taekwondo schools that had brought immense charitable and financial boosts to their communities. Instead, that honor belongs to Korean filmmaker Woo-Sang Park (credited in the film as Richard Park) who conceived the idea of a Taekwondo-based action film after watching a 1985 interview with Kim on the South Korean talk show Meet at 11 p.m. Love it or hate it, there’s no denying that Miami Connection is one hell of an entertaining ride, and at the end of the day, isn’t that why we watch films?Ĭuriously, despite having all the makings of an egotistical-driven venture, Miami Connection wasn’t the brainchild of Y.K. It’s the kind of film that threatens to dismantle a hundred years of critical writing.
How anyone thought a film about a synth-wave rock band fighting a hoard of drug-dealing ninjas could be the basis for a serious message about the dangers of violence is a question beyond the capacity of the human mind, but seemingly Y.K. As with those examples, what distinguishes Miami Connection from other awful films is the genuine sincerity everyone involved had toward the project. Miami Connection – the 1988 martial arts extravaganza that often threatens to become a musical – rides the line between cinematic perfection and borderline unwatchable flawlessly, making it a staple on all best-bad movie lists alongside The Room and Troll 2. It’s easy to make a bad film, and virtually impossible to make one that’s so bad it’s good.
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