It is understandable to see how a man like Silvester Stallone has obtained, with greater or lesser fortune, recovering the relevance thanks to his modest exercises of revisionism of his star franchises, adapting the times with products that work, that do not need, nor do they want, to change the panorama of the genre in which they are located, but somehow using nostalgia as a way to close the life cycles of their protagonists.
It shows that Sly loves her characters, that she wants to explore her maturity to detect her own and say, at 73, "here I am", while destroying clavicles by open hand or running, riding and shooting with all kinds of weapons . One, who hardly bends down without leaving a breath, can only applaud what Stallone achieves in his fifth installment of his most popular character, John Rambo, in the new Rambo: Last Blood. However, the exhibition should not be an excuse for a warm closing for an icon of popular culture.
While the success of 'Creed' (2015) indicates an intelligent way to remove the Rocky brand, his character may have adapted to a twilight co-star, in 'Rambo: Last Blood' he assimilates the operation as a new unique military adventure retired, having seen the last time in the delirious and festive 'John Rambo' (Rambo, 2007), in which there was an adaptation of scale and budget in the saga, but not an adjustment of ambition, watch now the movie to judge by yourself.
This, a priori, should not be a burden, but it costs, first, to see an icon close its way in a movie with a video market ambition, without a perorative spirit. The idea of a low-budget Rambo is not, in itself, bad, although it serves as an excuse to plant a film from the Liam Neeson Revenge Saga - the template shows too much - with a John Rambo in Western code and few modifications that add to the idea of the hero as liberator of the terrible Hispanic pimps that threaten American women.
And, in most of its footage, 'Rambo: Last Blood' is a trifle and reactionary reformulation of Hardcore (1979) without much research but with a greater Stallone, wandering through that hell in the land that is the Mexico that draws the film without shame, with its MAGA pedagogy taken too seriously. To round off this very long introduction, a subplot is added with a journalist interpreted by Paz Vega (accompanied by Spaniards Óscar Jaenada and Sergio Peris-Mencheta) that leads absolutely nowhere.
Removing a scene that seems to have been thought after seeing 'You were never really here' (2017) - which has the same best themes, and also the application to the most verifiable American fears in full Epstein case: Pedophile networks of politicians and Trump's relationship with the main suspect — the entire development before the climax is correct, but with hardly any modifications to the script. The element that triggers the true juice of the set is treated, yes, with effective emotionality.
But the bulk of what really interests to see in this (supposed) end of Rambo is concentrated in its explosive final climax, which although it is all the effective, bloody and vibrant that can be intuited in the trailer, it is also hurried to finish, dispatching enemies in a few minutes and accelerating what they had to have been the second half of the film to squeeze a mounting coup in a sufficient but somewhat vague and disappointing ending despite the gore outbursts, which are not seen too much by the dark, the assembly and a poor CGI.
It seems that the montage strives to elongate the least interesting part of the film, trying to commendably emphasize the drama, but that the decompensation between the parties actually comes from a tight budget, perhaps more on filming days than in the media. Everything that proposes its share of action and revenge works, but its compression indicates that you do not want to delight in it, that you have not been able to measure the tempo or that haste in the last minutes.
Although it is an acceptable entertainment, 'Rambo: Last Blood' does not look like a Rambo film, watch it now and see if it is for you.