Rambo: Last Blood Ending Explained (In Detail)

Spoilers Alert:

Sylvester Stallone slips into the role of war veteran John Rambo one last time and should actually do what he does best. But instead of fighting, he prefers to drive around or talk about horses. Our criticism too RAMBO: LAST BLOOD tells you more about one of the worst films of the year.

Rambo is finally allowed to take revenge again – at least for ten minutes.

The plot summary

John Rambo (Sylvester Stallone) has fought many big battles in his life – now it’s finally over. The war veteran now lives in seclusion on a remote farm in Arizona. But the former elite fighter cannot calm down. When his housekeeper’s granddaughter Maria (Adriana Barraza) is kidnapped, Rambo sets out on a rescue mission across the American border into Mexico. He soon finds himself face to face with one of the most powerful and ruthless drug cartels. Years of fighting may have scarred Rambo, but they haven’t made him any less dangerous.

Rambo: Last Blood Movie Meaning & ending

John Rambo is probably the most misunderstood movie character in history. Starting as a traumatized Vietnam War returnee who showed us the senselessness of war and violence in one of the best action dramas of all time in 1982, those responsible simply threw the noble intention of the original film out the window for the second part (and all subsequent ones). This is somewhat understandable, since it’s difficult to enjoy how Sylvester Stallone (“Creed II”) shoots people to a pulp on the big screen with a moral finger in the back of your head. But of course it undermines the integrity of Ted Kotcheff’s cult film. Now Stallone, who was even involved in the script himself, would actually have had the opportunity to close the circle in the fifth (and supposedly last) part of the “Rambo” series and reflect one last time on the fact that it was at the beginning of the Franchises were actually about not addressing the violence itself, but rather the traumatic consequences of it. But puff cake! Director Adrian Grunberg (“Get the Gringo”), based on the script by Matthew Cirulnick (“The Streets of Harlem”), fails not only when it comes to basic ingredients such as dramaturgy (not to mention logic, which we tend to have less of in action films) , but on top of that it presents a film that only exists because it uses stupid xenophobic clichés and spices the whole thing up with an extra dose of misogyny. The end result is not only annoying, but even in brain-off mode, annoyingly boring.

Gabrielle (Yvette Monreal) and John Rambo (Sylvester Stallone).

Just think about how stupid we would have looked if the first “John Wick” film had spent 90 of its 100 minutes explaining the exact background to the death of John Wick’s dog. Or, in the case of “Die Hard,” we would have had to listen to how much John McClane and his wife love each other for two hours before the two action heroes either embarked on a campaign of revenge or an attack against the terrorists. That’s exactly how it is with “Rambo: Last Blood”, which means that the film, which rightly has a rating of 18, is likely to offend all action and gorehounds. Because apart from a brief fight in the middle part of the ninety-minute film (without credits), the viewer has to wait until the admittedly well-tricked finale before anything happens on the screen that would earn the film its label as an “action film”. And as irrelevant as things like a comprehensible, logical, let alone profound story may be in the case of a “Rambo” sequel, the authors still seem to take their hackneyed story as important. And since you can’t distract yourself with action scenes – simply because they don’t exist for a very, very long time – you inevitably have to deal with how rarely stupid and sometimes outrageously backwards the conflict surrounding Rambo’s revenge campaign against Mexican traffickers in women is is raised.

Now “Rambo: Last Blood” wouldn’t be the first US film in which a certain ethnic group is chosen as the villain. The number of times Russians or even Mexicans have had to do this can’t even be counted on both hands. At this point we also don’t want to be more papal than the Pope. But the consistency and seriousness with which director Grunberg strives to present everything beyond the border with the United States as a drug- and hate-soaked juggernaut is unparalleled even in action cinema, which is not at a loss for any stereotypes. Men in Mexico are violent and brutal, women in Mexico are the victims of the same – and are so submissive to them that they do not even run away when they are rescued by Stallone, the brave American. By the way, “Rambo: Last Blood” reveals its next deficit. Because even if the scene just described seems amusing, almost parodic at first glance (just imagine: John Rambo frees women, they don’t want to be freed and the rescuer then simply walks away!), it is still revealing , what importance women have in this testosterone-soaked world. The motif of the “damsel in distress” is also not new, but the makers of “Rambo: Last Blood” go even further: the “damsel” in question is only saved here if she is described in advance by her rescuer as “emotionally important “ was classified; for example because, like the victim Gabrielle, she has a personal connection to Rambo. Otherwise, women in this film are just housekeepers (until Rambo no longer has any use for them either), tipsters or – of course also branded as “victims” – at least provide brief medical care when the plot doesn’t know what else to do . In short: With this combination of misogyny and anti-Mexico, “Rambo: Last Blood” already qualifies as Donald Trump’s favorite film of 2019.

After we have ticked off the moral questionable aspects of “Rambo: Last Blood”, we still owe a look at the finale mentioned above – and as much as we hate to enjoy it after the terrible preparatory work, one cannot avoid saying: That everything is pretty good! Not only are the numerous gore effects and splatter inserts of a house that has been converted into a killing machine (!) of decent, handmade quality and the makers are pushing the FSK approval or the R rating to the limit (but be careful: FSK 18 says absolutely nothing about the amount of violence, but only assesses the drastic nature of the peaks of violence!), they are also much more creative than an action hero who just shoots around or otherwise murders in a monotonous manner. Here feet are ticked off, heads are pierced and at the end John Rambo is allowed to take revenge on his foster-granddaughter’s tormentors in a particularly nihilistic way. The contrast to the original intention of the series, which began as an action drama, couldn’t be greater, but anyone who buys a cinema ticket for “Rambo: Last Blood” in the hope of brutal action will at least be rewarded for a few minutes – with depictions of violence, somewhere between “John Wick: Chapter 3” and “The Night Comes for Us.” But it wouldn’t be surprising if a large part of the audience had already left the cinema bored or annoyed.

Conclusion: Dull clichés about Mexicans form the narrative basis for an eighty-minute exposition that is peppered with a lot of misogyny and is also incredibly boring, before John Rambo is allowed to take revenge on the villains in an extremely nihilistic way in the last ten minutes. It’s questionable who else notices…

“Rambo: Last Blood” can be seen in USA cinemas nationwide from September 19th.

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