Pulled from self seclusion, America’s legendary warrior is forced back into the fire once again in the cinematic adventure “Rambo.”
Residing in a small river community in Thailand, John Rambo (Sylvester Stallone) lives a solitary life, wrangling a wide variety of cobras and pythons for use in tourist demonstrations. Rambo is approached by a band of missionaries seeking passage into Burma. He refuses, citing the anarchy and genocide as prime examples of why these folks would be better served going home.
Not to be deterred, one of the missionaries, Sarah (Julie Benz), approaches Rambo again to explain that they understand the danger involved but believe that the need to do good outweighs any dangers. Rambo grudgingly takes the group into Burma.
Some weeks later Rambo is again approached by an outsider. He is informed that the church has not heard from the group that entered Burma and they have hired mercenaries to rescue any surviving members. They need Rambo to drop the team in Burma. Faced with a crisis of conscience, Rambo decides to stop fighting what he really is and embrace the warrior within. Rambo heads out with the mercenary team hopeful that he will be able to make a difference but will their endeavors be in vain?
As he enters his 60s, Stallone seems to need closure. First, we watched “Rocky Balboa” saunter off into the gritty Philly landscape that bore him decades ago, and now John Rambo finds himself thrust into the spotlight one more time searching for peace and perhaps the answers that Stallone himself seeks.
Stallone directed and co-wrote this finale (or so we can hope) to the “Rambo” franchise. He leads in with a very in-depth look at the people of Burma and the atrocities they endure in relative silence. I tip my hat to him for bringing that to the public awareness and also give him credit for the manner he chose to portray it. I have time and again railed against the gratuitous violence of the envelope pushers (“Saw” franchise), but in this instance, it enhances the film. Stallone presents some of the more disturbing images imaginable as he sets the scene for the meat of this flick. And while the computer-generated quality is not up to Hollywood’s top standards, the carnage occurring during the use of it is so ultra-violent that needing anymore definition or clarity is unnecessary. The problem is that he seemed to lose focus around half way through the film, allowing it to lapse back into clich�d melodrama. I personally wish he had stayed the course and took that dark, winding road to its ultimate conclusion or had just given a solid good-bye ala “First Blood II” and “First Blood III” from the beginning.
That aside, it’s a good flick. Not great, but good. And it is a fitting farewell to Rambo for those that remember those good old Russian-hating days of the ’80s, and the ingenious manner in which he dispatched so many of those “Commie bastards” to the great Gulag in the sky. I can’t recommend this for the younger set as the imagery is brutal and it goes over some well established lines at times. But for those mature enough to handle it, you’ll enjoy this part introspective awakening, part gladiatorial bloodletting piece of cinematic Sly. Thankfully, after all this time, Stallone has embraced what he himself is and allowed us to join him for one last ride. Not a bad way to say goodbye, not a bad way at all.
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