Review of Rambo: Last Blood

 

 

The reality that most movies offer some patriotic standard, was never to be found in the case of Rambo: Last Blood. Soldiers of war are often the only few who know why politicians do not press the button to send off nuclear warheads. It’s the only time when soldiers should be around a president. John Rambo, who was a character born out of a time when the Vietnam war was unpopular and a world’s realization that they hated the US military for trying to invade Vietnam. The movies associated with such horrors of the Vietnam war, from May 7th 1954-1973, usually got the war right, which is true of 1986’s Platoon, and how men survived day to day in war time situations. What Rambo, the series, starring Sylvester Stallone proves that warriors are still misunderstood in popular culture, and they are only bred for war. When war has become the only thing people know, they rarely think about the future.

They distrust people and the power that comes with politicians sending men to die in wars they do not care about. What made Rambo: First Blood interesting is that much of what Rambo had, is not what he had gained, but what he had lost. It’s the problem of soldiers who have seen their friends die in war, usually promising to visit the dead soldier’s mother and father. It’s a reminder that not all who fight in war, and come back are hero’s, and with John Rambo, we see that his progression through the series has brought him from Achilles, who comes home from the war, and he is very akin to Odysseus, who has returned from war, and much of what he has seen, would terrify anyone. But this doesn’t mean Odysseus was a bad military leader. Jon Shay writes in Odysseus in America, “good reconnaissance” and “intelligence” are the reason a soldier can stay alive, and John Rambo embodies much of what Odysseus and many soldiers from any war have. Resilience, determination, skill at survival, which are traits the modern world doesn’t favor. Not for John Rambo, and not certainly for the critics at Rolling Stone or the shill media at large. (Shay, Jonathan. Odyseeus in America: Combat Trauma and the Trials of Homecoming. Scribner. P. 231).

The opening scene of the first movie where he is harassed by a local sheriff is what sends the whole plot into motion. He responds to a town that hates him by defending himself and fighting them off with each and every sight and sound. I can remember feeling bad when the dogs died by John Rambo’s hand, but it was because he had to survive. Maybe I was just thinking about the dog, but that has always stayed with me. What came later is the realization that men who return from war are often seen as the outcasts of society, and as John Rambo is proficient with guns and knives, he can easily take a town hostage all by himself. It’s with this idea that most men at war usually set a precedence in mass culture. America has seen multiple stories of Rambo and while much of what Rambo experiences is projected onto the American psyche, and thanks to Stallone, and creator John Morrell, we have a story of man who has been built and bred to war and no constant surprise is wondering what the evolution of war and mankind will do when met with a threat that we have to solve through physical violence. While the media would deceive you to believe this is a bad movie, as Rolling Stone calls Rambo: Last Blood, “a film for the MAGA age” is what little they know or care about what makes a Rambo movie unique. It’s about fighting to survive, but also with some skill and artistry, show how war can become the main focus of a man’s life.

Many survivors of war often come home with PTSD, and the problem with that is Rambo is the embodiment of men who come home from war, misunderstood by a culture, and all wars must be fought in order to achieve victory. The perception of this movie being for the “MAGA Age” (https://www.rollingstone.com/movies/movie-reviews/rambo-last-blood-movie-review-stallone-885610/) is the reason why the liberal media is wrong on many occasions. The problem with the media is twofold, but that will be later.

They see a movie like Rambo: Last Blood and they call it a film that borders on “stereotype” (courtesy of IGN), when most of the reviewers are too young to remember a Rambo film. It’s an age difference and apart of the culture war. What makes Rambo unique is that Rambo, through the man stages of his life, knows that there is a battle to fight, and there is no one better than the misunderstood figure, such as Stallone, whose voice is grumbled, and he stares with a dead stare, or as he calls it “The thousand yard mile stare” and no matter what we think, we are on Rambo’s side. The first two movies are merely him being used as a pawn in the puppets game with his old general, but now he is the reason why warriors must look to him and see his presence in the wars we currently surround ourselves now.

The IGN review has claimed that “using Mexicans is a racist stereotype” is the problem of a current society too afraid to ask the questions Rambo: Last Blood is willing to answer. GS-13 and all the Cartel’s who associate with them are in large, bad people. John Rambo tell his step daughter, Gabrielle, (played by Yevette Monreal) “you don’t know how black men’s hearts are.” This is the thing John Rambo says because men that he has dealt with are the only thing he knows. If one continues to see the enemy, they will see the enemy, and in John Rambo’s case, he knows what real terror is. When Gabrielle’s quest to find her father, ends in the result of her biological father rejecting her, her friend, Jezel (played by Finessa Pineda) sells her to the Cartel, and thus begins the journey for Rambo to find his daughter. On the way, he finds Gabrielle’s bracelet on her friends hand, and he orders her with a knife to take her to the men who captured her. The club, where she was abducted, came as a cautious threat to society, as those who have certainly willed such anger upon women.

They think of women as “things.” It’s when Rambo is battered and bruised, is that an independent journalist, Carmine Delgado, played by Paz Vega, instructs him to buy her daughter, unbeknownst to him in a state of battered and bruised subconscious sleep, is made an “example of” when she is forced to use heroin. When he arrives to find her, he beats them with a hammer and all the men in each room to death. When he finds Gabrielle, she is at the brink of death, and he she dies in his truck. When he buries her, he begins the war on the cartel members who defiled Gabrielle, and after he kills one of the Cartel member’s brothers, decapitating his head, and throwing it into the street as he drives away. What leads is probably the best self-defense action sequence that anybody could ever see.

Lining the ground with explosives, and landmines, and cutting down his double barrel shotgun into a shorty, making flammable shotgun shells, he makes sure that all is ready. What ends in a bloody climax of the franchise’s end, but a soulful Rambo says he fights “because he loved his country.” Maybe it’s just me but the media, and all they do can see from Republicans is scary men with shotguns, but merely this representation is a lie and a farce. What they seemed to miss out of Rambo Last Blood is that a character finally coming to grips with his life as a soldier, such as Odysseus did in the Odyssey.

It’s not that we don’t have much to think about when it comes to Rambo: Last Blood, but only the prudish viewer would attack this film for being unsensitive. An Action film is not supposed to play to the weaker men’s souls who are into the comedy of manners novels as Pride and Prejudice. It’s the unpopular opinion that all films should be different is what makes this film the perfect target for the media. Not only do they give it twin middle fingers, but the inability to watch the film and disseminate a film away from society, is what is destroying the shill media corporations. It’s maybe professional jealousy against Sly Stallone, but what we have is a cultural break between the media and the people who watch movies. Here’s an example from Rotten Tomatoes score, showing the difference. Critics, averaging to 127, gave the film a 28 percent, while the audience, based out of 4,452 reviews, gave the film an 83 percent. (https://www.rottentomatoes.com/m/rambo_last_blood).

This is no different when critics attacked Dave Chappelle, for his comedy hour Netflix special, Sticks and Stones, as the audience score was fresh on audience reviews. This is where society has found itself. Pitting itself for the soul of a movie that was meant to be an entertaining movie that showed how a vet had truly come home, and the audience understood it. The idea that critics mean very little in society, especially by corporate media schill types, do not matter to the everyday movie goer. What is definitely clear is that the audience is vocal more than ever, and in such cases, both Dave Chappelle and Sylvester Stallone benefitted from the day, proving that critics are the last resort to an audience’s taste. What we have to disseminate is that taste is subjective, but in the corporate media’s eyes, they think Rambo shouldn’t be favored for the x amount of reasons they list, because everything offends them.

If they do have any taste, I will not be seeing movies like Downtown Abbey, because the media tells me it’s good. If a critic loves it, I will hate it. Like how everyone gathers around Jordan Peele’s movies, which they seem vastly overrated, and boring to most people, but not to critics. What makes critics valuable is that they do not give into he culture of the day, and blame all of society’s problems on a movie. Yes, some do have good opinions, but in such cases, they rarely meet with the audience favor.

No one can really tell what becomes a classic, but both Rambo and Dave Chappelle have become warriors in the culture of media hatred. It’s the understanding that most media have to give into the bias of the liberal misgivings, but everyone’s allowed to have an opinion, but the opinion of the people have more precedence than ever, thanks to the Internet. The problem is that Rambo doesn’t care about your feelings. It’s willing to make you uncomfortable with the truth and reality behind Mexican cartels and the way they treat women. If this means I am an enemy of the media for liking this movie, then they really don’t have taste, and I wear the badge of honor gracefully.

What you can’t deny is that when an audience says something is a hit, the media can’t control the people’s voice. What the media do not understand is that when they think they have our best interest at heart, they really lose grasp of what the culture really thinks. I used to take critics seriously, but as I write this, I am now a critic, and I would argue that we should see movies for ourselves and judge the movie on its own merits. But what we do learn is a lesson in what the media will do to us if we talk. They will try and censor us and call us racists. My advice: go see the movie and become a part of culture, not just surrounding it and never participating. Think for yourself. Be smarter than the people telling you what to think. Watch the film and laugh at the violence. I did, because it was enjoyable. Because laughing at Cartel men being slaughtered is funny. If you have sympathy for the Cartel, GTFO.

 

 

 

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