"Rambo: Last Blood", The Return Of a Hero "thoroughbred

Retired, living like a cowboy on his family ranch in Arizona, the former soldier must leave his lethargy when he discovers that his goddaughter has disappeared on the other side of the border. In a raid of action and revenge, Rambo will face a dangerous network dedicated to human trafficking. A personal war marked by fire and blood.

In 1982, First Blood was released, an action drama in which Sylvester Stallone first played one of his two fetish characters (the other is obviously Rocky)

The impact of that movie directed by Ted Kotcheff was immediate. It was a story that delved into the aftermath of Vietnam's war veterans and the incomprehension and invisibility they faced in a Republican North America during the Cold War. It was undoubtedly the dark side of the "American dream." That first Rambo, was pointed out and stigmatized by the police and "the white man", and struggled to become a place in the country for which he had left the skin in combat.

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The coming film sequels, put aside this plot line and were more interested in the tactical side and combat skills of the character than in his psychology.

This last chapter (aptly titled Last Blood) not only closes the circle around Rambo, but also works as a painting / tribute to the class B action cinema that Stallone knew how to cultivate as one of its greatest exponents, and places it on the other side from the counter, from the one indicated on that first tape, becomes “the accusing finger” of different and excluded.

The plot may be rudimentary, at times awkward and even predictable, but director Adrian Grunberg underpinned by Sly from the script, never appeals to a parodic tone to tell the story. Without jungle or warlike locations, the story moves within a border aesthetic that suits you very well. There is no development of the characters, and little is known about the motivations, but if something is clear is that John Rambo is unique, relentless and surely Trump's voter.

The footage is divided into two very clear acts, the first follows the "twilight hero" in what seems the epilogue of his life. In the second, there are many killings and violence, in a fresco that refers to those films of the eighties in which there was not so much political correctness and blood, open wounds, broken bones and dismembered bodies were part of the cocktail.

Last Blood, has as much hemoglobin as a horror movie, the corpses are stacked hundreds by the look of the tanned, inexpressive and "surgeon" face of a Stallone that is still as charismatic as in the distant eighties.

Who wants to see beyond the explicit can find, as we anticipate, stereotypes, reactionary moments and some stigmatization of Latin characters. But, it should not be forgotten, that we are facing a fiction, and that in its own way, this production is also a portrait of the current America and the discourse of those who command that Nation.

Rambo: Last Blood is exploitation, wild and irresistible cinema. The film testament of the last great action hero, of the highest standard bearer of "God Save America."

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