Rambo: Last Blood Review
“Last Blood” follows the legendary John J. Rambo, now an old man. After years of traveling abroad, Rambo is finally home. He has a familial unit, and for once in his life, there is a sense of stability. His friend’s niece, Gabrielle, is like a daughter to him, but it’s evident that she’s on her way out. As college approaches, she attempts to find her deadbeat father, who lives in Mexico. Rambo tried to dissuade Gabrielle, but to no avail.
“Last Blood” has endured a ton of harsh reviews, many of which criticize the film for its Trump-like undertones. Grace Randolph of Beyond the Trailer called it “racist and misogynistic.” From what I can tell, critics’ complaints are largely due to the film’s representation of Mexico. In the flick, the Mexican cartel is responsible for the abduction of Gabrielle. First, let me address the film’s so called misogyny.
I have no idea how this film can be misogynistic, when the story primarily focuses on a man who is attempting to protect a young women he loves. Heck, I could even go so far to say that women have been a key part of Rambo’s life. In “First Blood Part II” (1985), it was Julia Nickson’s character who told him that he wasn’t an expendable male. In “Rambo” (2008), it was Julie Benz’s character who taught Rambo to hold out hope for humanity. These women are good human beings, and ultimately, they are threatened by humanistic demons that enjoy gunning down women. Rambo is the man who stands up to these aggressors. This notion is reinforced in “Last Blood.”
Let me put it this way…when I watched “Get Out,” I saw a world full of Caucasian corruption. As a Caucasian male, this didn’t offend me. Jordan Peele’s film was showcasing a community of evil. I didn’t take that as a personal offense towards my race. I understood and accepted it, because I knew that specific white communities are unbelievably corrupt. Most importantly, I understood that Peele wasn’t condemning every Caucasian person.
Racism comes from the stance that one person’s race is superior to another. That isn’t the case here. Gabrielle has a Latino father, so she is of Mexican descent. There’s even a speech in the film where Rambo talks about how Gabriella has given him hope. Rambo didn’t have to help raise her. He could have kept his distance. Instead, he forged himself into a role model, and became the father figure that Gabrielle needed.
I have no idea how a film can be considered racist when it only shows a tiny part of Mexican culture. “Last Blood” isn’t condemning the entire culture of Mexico. It shows us one specific city in Mexico, filled with crime, pain, and betrayal. Sure, the villains are savages, but they come from a place of realism. Unfortunately, Mexican cartels exist. Because the film utilizes this aspect of Mexico does not mean that it is condemning Mexico as only that.
Simply put, “Last Blood” is a revenge tale that dispatches evil people who actually exist in the world. The so called “white savior” isn’t drawing first blood. He is going about his everyday business, until corrupt beings dismantle his happiness. He’s just responding. At his core, Rambo is a reactionary character. He doesn’t want any trouble, but the chaotic nature of the world intervenes.
“Last Blood” could have easily gone the traditional route, casting white guys left and right. But instead, the film gives Hispanic and Latino performers the unique opportunity to be in a legendary series. Clearly, these roles aren’t the most developed, but they are given moments to shine. Adriana Barraza, a Mexican actress, plays a mother figure, complete with wisdom, love, and honesty. Her scenes wonderfully tap into the emotional headspace of being separated from someone you care about. Paz Vega, a Spanish actress, portrays an independent journalist who despises the corruption that takes place in her Mexican community. Vega’s role is small but her energy is fully alive. Vega’s character helps jump-start many conflicts that will eventually save future souls. Also, credit must be bestowed upon Yvette Monreal, a young actress, who portrays Gabrielle. Monreal has a crushing scene with Marco de la O (a Mexican actor), which pulls at our heartstrings, and from there, everything goes downhill. Overall, it’s a breathe a fresh air to have a young woman in the Rambo franchise.
Clearly, with a film like “Last Blood,” we know that the villains aren’t going to possess a ton of emotional depth. However, the Rambo series does allow its villains to shine through the prism of humanistic evil. “Last Blood” is not an exception. Sergio Peris-Mencheta and Óscar Jaenada (two Spanish performers) play the leaders of the cartel. Peris-Mencheta and Jaenada are given a solid amount of scenes, designed to showcase their monstrous transformations. As I watched the film, I admired their professionalism. It’s amazing to me that civilized men can go to such dark places.
An exceptional aesthetic is always a welcome sight for audience members. Luckily, “Last Blood” has beautiful visuals. Adrian Grunberg, the director, has a nice handle on action. Brendan Galvin’s cinematography shapes the film into a modern western of sorts. The color grading is immaculately done, and overall, it helps “Last Blood” become the second best looking entry in the series (behind 1982’s “First Blood”). When it comes to close ups, the framing is somewhat sloppy. But in regard to action, the framing creates some perfectly balanced entertainment.
My biggest problem with the film is the generic story. From an objective point of view, I am amazed that after 11 years, this is the best story they could come up with. So many stories of this magnitude have been told already. Thus, we can see a lot of the story beats coming from a mile away. Although I will give Sylvester Stallone and Matthew Cirulnick (the screenwriters) credit. They put us through a meat grinder, which gets violent in the most depressing of ways.
“Last Blood” provides us with an inside look at the hopelessness of familial division. The screenplay doesn’t sugar coat these aspects. It showcases a disturbing world, very much connected to real life evils. Many scenes are difficult to watch, and as these dire aspects pile on, the film builds up its villains, displaying the blackness that consumes certain souls. Eventually, Stallone and Cirulnick plant a disturbing surprise, designed to bring Rambo fanatics to their knees. This sets the stage for a thrilling showdown, over flowing with a need for retribution.
At 89 minutes long, the film is too fast for its own good. We are introduced to relationships that have a ton of mileage, but we, as audience members, aren’t familiar with these familial parts. Thus, when it comes to the story, there isn’t enough time developing Rambo’s familial connections. The flick fast tracks the familial atmosphere, and in turn, the transitioning feels unsystematic in spots. Luckily, the performances are so well done that the story achieves a consistent sense of emotion. But in retrospect, these relationships feel like shells of what they could have been.
At 73 years old, Stallone turns in another great performance. With his wrinkly skin, haunting scowl, and huge frame, he looks extremely menacing. In a wise turn of events, the script doesn’t turn Rambo into an unrealistic hero that transcends the cycle of getting older. These days, he moves slowly, and there is an abundance of emotional sensitivity that resides within him. As time goes on, Stallone does a wonderful job of transitioning into an all out avenger. The transformation is unbelievably exciting, but underneath everything, it’s bittersweet, because of Stallone’s poignant performance. With this story of vengeance, the aspects of PTSD remain intact, giving the narrative another dose of social resonance. As he says early in the film, “I haven’t changed. I just try to keep a lid on it everyday.”
Once Stallone enters full Rambo mode, the story becomes a complete luxury, especially for longtime Rambo fans. Every movement by Stallone feels confident and rough. An enhanced essence of cruelty has been imbued in the character, since he is mentally and physically fragile. Throughout the flick, specific scenes put Rambo in his most vulnerable of states. Like a weightless old man, he is mocked. Like an outnumbered man, he is given scars that resemble a modern crucifixion. The antagonists are young, lively bodies, filled with resources and apathy. All in all, these adverse elements put us on edge. We understand that Rambo is facing a daunting task, and that makes the ensuing carnage all the more satisfying.
When the climactic showdown hits, we enter a world that recreates the magical age of 1980s moviemaking, a time of legendary action heroics. Even though a specific montage shows us too much too soon, the film utilizes a ton of creative kills, representing the detailed experience that comes with being an older man. In all honestly, these kills will make any Fangoria fan proud. In one scene, we see a more graphic recreation of Steven Spielberg’s “Temple of Doom.” In another scene, Rambo turns a man into a modern Cenobite (watch “Hellraiser 3”). I suspect that Clive Barker, the creator of Hellraiser, would be pleased.
In conclusion, if you’re a fan of the 1980s era and possess an open mind, you will probably enjoy “Last Blood.” It’s the worst in the series, but quite frankly, it’s a welcome addition (in my mind, every film in the series is solid). Overall, “Last Blood” is solid entertainment that possesses more heart than expected. If you are looking for a fun popcorn flick, you could do a lot worse. I am open to a sixth installment!
