He has fought in the jungle, in the desert, in the forests of the United States and for what? Lionsgate recovers one of the most important icons of cinema of the 80s, and tries to give him a farewell that knows more about prostitution than homage. The exposed words are hard but deserved for a production that for months was sold in the face of nostalgic rejoicing, and that ultimately has turned out to be what many already pointed out last 2008, and what many other dreamers feared; a film of series b without great performances, a plot of weight, nor the own emotion that is presupposed to the farewell of someone as legendary and heroic as John Rambo.
Adrian Grunberg, who came to devote a name in the genre of action as an assistant director with tapes of the caliber of 'Apocalypto', 'Traffic' or 'The Fire of Revenge', returned to the big screen with his second own work. In 'Holidays in Hell', the filmmaker had already shown that he had the necessary fervor and ability to immerse Mel Gibson in the pastiche of archetypes and explosions of the 1990s, and in 'Narcos' he had never ceased to amaze with his decisions and attitudes shot after shot. Everything seemed to fit so that 'Rambo: Last Blood' was the production of choice to mark a turning point in his career.
However, Lionsgate decides to keep the tickets to entrust the success of the film to the fame of the character. What the studio does not count on is the trend unless the hero of Sylvester Stallone had registered during the last decade. Something that also fails to alleviate and unfortunate script signed by the actor himself and by a classic of the last decade of the twentieth century; Dan Gordon. What is wrong then? The list of errors begins in the reading that is made of the saga, and continues with the way of proceeding that the production team has implemented. Disgust, reluctance, and more reluctance.
Rambo: Last Blood has inscribed in its title a reference to the first film of the saga in an attempt to close the circle that Ted Kotcheff started in 1982. But it is not necessary to be deceived. The film that arrives at the cinemas in 2019 has little or nothing to do with the courage and socio-political burden that permeated that production. During his life on the big screen, Hollywood has shown us John running away from the terrors of Vietnam, facing them, getting in the middle of the Mujahideen hell, navigating the most inhuman Laos. Grunberg believes that he is at the same height as those adventures diving in the United States immigration conflicts.
Far from patriotism, muscular and lonely heroes, monosyllable morality. All those elements that built John Rambo during the Reagan era. Pessimism and the horrors of war have shaped a man who now seeks the tranquility and peace of the family. Rambo: Last Blood takes us to the border with Mexico, where Stallone lives in complete peace with a grandmother and granddaughter. The film, however, soon becomes overwhelmed with manic and predictable resources to send the protagonist to a dangerous city in which a pimp cartel reigns. In between there is neither construction nor contextualization, only half an hour of forced performances and scenes that contribute nothing to the sole purpose of the director; impact.
Of the scarce 89 minutes that Grunberg offers us to delve into the mind of the veteran hero for the sake of retirement, only half are destined for action. And even this is not presented in a dignified way; unnecessary camera movements, incomprehensible planes and passable visual effects. It is here that two forgettable and unrecognizable Sergio Peris-Mencheta and Oscar Jaenada appear, giving life to the flattest and most shameful villains that commercial cinema has seen in recent years. The film gradually shows its more amateur side as it approaches a resolution lacking strength and meaning.
Rambo once again sees himself cornered and builds a whole network of tunnels around his house to face the danger. The traps and other perverse tricks that he has on the ground give way to a very satisfactory bleeding that, despite the viewer, is dispatched as quickly as the main plot.