David Morrell
89minutes
release year: 2019
description: Rambo: Last Blood is a movie starring Sylvester Stallone, Paz Vega, and Sergio Peris-Mencheta. Rambo must confront his past and unearth his ruthless combat skills to exact revenge in a final mission
genre: Action
countries: USA
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From Internet Movie Firearms Database - Guns in Movies, TV and Video Games Rambo: Last Blood Theatrical Poster Country United States Directed by Adrian Grunberg Release Date 2019 Language English Studio Lionsgate Millennium Films Distributor Lionsgate Premiere Main Cast Character Actor John Rambo Sylvester Stallone Carmen Delgado Paz Vega Hugo Martinez Sergio Peris-Mencheta Victor Martinez Óscar Jaenada Rambo: Last Blood is the fifth and perhaps final installment in the John Rambo film saga. Sylvester Stallone returns as John Rambo, the former Green Beret and Vietnam War veteran now retired and living on his father's ranch who travels to Mexico to locate his housekeeper's granddaughter who has gone missing and then finds himself confronting a brutal drug cartel. The sequel, which was directed by Adrian Grunberg, was released to theaters in the US on September 20, 2019. The following weapons were used in the film Rambo: Last Blood: WARNING! THIS PAGE CONTAINS SPOILERS! Heckler & Koch USP Several soldados are armed with the Heckler & Koch USP when confronting Rambo ( Sylvester Stallone). Heckler & Koch USP - 9x19mm M1911 (Nickel Engraved) An ornate nickel-plated M1911 -style pistol with custom grips is taken up by Hugo Martinez ( Sergio Peris-Mencheta). A regular M1911 is seen in the hand of a cartel soldato confronting Rambo. Titanic M1911 from Stembridge Gun Rentals World War II Colt M1911A1 -. 45 ACP. M1911-style pistol in the foreground. SIG-Sauer P226 Several SIG-Sauer P226 pistols are used by cartel soldados when confronting Rambo ( Sylvester Stallone). A factory black (K-Kote) SIG-Sauer P226 pistol chambered in 9x19mm. This is a real movie gun and has appeared in several motion pictures. Colt Model 933 A Colt Model 933 carbine is seen used by a several cartel soldados. Colt Model 933 with bayonet lug deleted and thinner A1-profile barrel - 5. 56x45mm AKS-74U Several cartel soldados can be seen brandishing AKS-74U carbines. AKS-74U - 5. 45x39mm The AKS-74U seen in the foreground. M4A1 Carbine Several cartel soldados carry the M4A1 Carbine in addition to Hugo Martinez ( Sergio Peris-Mencheta). M4A1 Carbine - 5. 56x45mm. The M4A1 is used by Martinez while in the tunnels. M16A1 Rambo uses an M16A1 rifle. Colt M16A1 with 30-round magazine - 5. 56x45mm M1 Garand Rambo also uses an M1 Garand rifle to take down several cartel soldados. M1 Garand semiautomatic Rifle with leather M1917 sling -. 30-06 Norinco Type 56-1 Some soldados carry Norinco Type 56-1 rifles while confronting Rambo. One has a chromed engraved barrel, while another one is gold-plated. Norinco Type 56-1 (under-folding stock variant) - 7. 62x39mm The Type 56-1 seen at the right. The second soldado with his Type 56-1. Benelli M3 Super 90 Rambo is seen using a Benelli M3 Super 90. Benelli M3 Super 90 - 12 gauge Sawed off side by side shotgun A Sawed off side by side shotgun is used by Rambo to take down cartel soldados in the tunnels. Screen-used Victor Sarasqueta sawed-off shotgun from Mad Max: Fury Road. Image from Rambo Franchise Films First Blood (1982) • First Blood Part II (1985) • Rambo III (1988) • Rambo (2008) • Last Blood (2019) Video Game Rambo: The Video Game (2013).
Something went wrong, but don’t fret — let’s give it another shot. Few actors can radiate the intense rage and fury that Stallone does in this movie. Loved the action and the kills. Those people deserved to die violently. Hoping for another Rambo. I loved bad guys getting punished, and there's no better man to exact punishment than Rambo. Home has always been an abstract concept for John Rambo, and that’s what the last scene of 2008’s otherwise expendable “Rambo” sequel finally gave the iconic Sylvester Stallone character: a moment when this unsettled Vietnam War survivor, looking very much the worse for wear, lumbers up to a mailbox bearing the character’s surname. At last, somewhere in Arizona, this dutybound embodiment of American military might have found his way back to the family ranch. Such closure was in nearly every way antithetical to the spirit of “First Blood” — that is, the PTSD-fueled franchise’s inaugural movie and the eponymous David Morrell novel that inspired it, both of which traded on the notion that a good man who’d gotten a taste of killing had serious difficulty turning off that deadly skill set upon his return. As a result, a sum total of zero viewers saw that ending as a sign that Rambo would take this long-overdue homecoming as a chance to park his keister and raise chickens, or whatever. The only surprise, really, is that it’s taken more than a decade for Stallone to make another Rambo movie (as it happens, the actor-producer was busy rebooting a far better series, via “Rocky Balboa” and “Creed”). And the only unanswered question has been what group of unlucky so-and-sos would be the next to face his wrath. In “ Rambo: Last Blood ” — another cruel and ugly showcase of xenophobic carnage squeezed into barely 80 minutes and packaged for export — the tired, now-septuagenarian action figure turns his notorious sense of loathe-thy-neighbor vengeance toward the Mexican cartels, who’ve kidnapped his college-bound niece Gabrielle (Yvette Monreal) and turned her into a smack-addicted sex slave. Call it “Rambo: Bad Hombres Edition” — featuring fresh south-of-the-border mayhem from “Get the Gringo” director Adrian Grunberg — in which screenwriters Matthew Cirulnick and Stallone adopt the racist view of Mexicans as murderers, drug dealers and rapists, devoid of cultural context or exceptions, beyond the “independent journalist” (Paz Vega) keeping tabs on their whereabouts. Before all hell breaks loose, the movie reveals what a “peaceful” day on the ranch looks like, opening in the elaborate system of tunnels Rambo has constructed beneath the pasture that surrounds his country home — a sort of precautionary measure borrowed from his friends the Viet Cong, and a perfect playground in which to booby trap and torment his adversaries in the movie’s spectacular climactic bloodbath. (Amusingly enough, “Last Blood” lensed in Bulgaria, doubling for Mexico, whereas “Rambo: First Blood Part II” used Acapulco to stand in for Vietnam. ) Singlehandedly doing more to support the Second Amendment than Charlton Heston ever has, “Rambo” movies view weapons the way Quentin Tarantino does feet, turning a well-greased gun barrel into a whatever-cocks-your-bazooka fetish object. To wit, this film’s opening shot dollies past a well-stocked ammunition rack, in which we spy a pair of M16s, a shotgun or two, and several rifles, plus a machete for good measure. So much for background checks. Rambo is clearly waiting for the war to come to him. And if it doesn’t, well, he can be counted on to start one. Disregarding her uncle’s advice (which sounds like some kind of sociopathic fortune cookie: “I know how bad a man’s heart can be”), Gabrielle crosses the Mexican border to meet her deadbeat dad (Marco de la O), only to be drugged, kidnapped and sold to the Martínez brothers, Victor (Óscar Jaenada) and Hugo (Sergio Peris-Mencheta). A pair of retrograde stereotypes clumsily recycled from ’80s action movies — neither as scary as the “Sicario” drug lords nor as memorable as Robert Davi’s Bond villain — these two siblings so intimidate their captives that the young women dare not run away even after Rambo liberates them. Early on, Victor threatens one such escapee but stops short of punishing her in a scene that feels as if it may have been softened after test screenings — whereas no brutality has been spared against the anonymous platoon of cartel thugs Rambo later decimates. Yes, but they deserve it, one might argue. This is the reductive one-man-against-the-world reasoning by which Rambo has always operated, and I don’t buy it. Rambo — who is bludgeoned till his eyes won’t open, and gashed on the same cheek that was scarred in “First Blood Part II” — always sustains some kind of humiliating beatdown before getting his payback. That’s the long-established formula for this franchise. In the past, he’s used military operations to justify his rage. This time it’s personal, or so the cliché goes, although the sentiment has seldom been less convincing (same goes for Stallone’s crocodile tears). Here, it’s the screenwriters, not the cartel, who should be held accountable for conjuring a virginal relative only to violate and degrade her. Suddenly, the infamous wall along the U. S. -Mexico border seems inadequate — less in containing the cartels than in protecting them from Rambo’s brand of vigilante justice. After decapitating one of the Martínez brothers, Rambo returns to his ranch, where he proceeds to perform one of his signature montages — an extension of the gratuitous gun-barrel worship we got brefore, only this time, it involves setting a dozen or so grizzly death traps, every one of which audiences will have the pleasure of seeing sprung upon faceless henchmen. One actually cleaves a goon’s face in thirds, sparing Rambo the trouble of his usual skull-bursting finishing move. It’s horrible, gut-wrenching butchery to behold, and yet, it’s been calibrated to elicit whoops and cheers from fans, who’ve faithfully followed along as Rambo evolved from long-haired drifter, scuffling with an overzealous local sheriff (in the relatively realistic “First Blood”), to bare-chested, bandanna-wearing global enforcer (in a series of increasingly outrageous sequels). For many, this will be their first Rambo movie, which they can enjoy unencumbered by the psychological baggage of his past. What a frightening sight Stallone must be to neophytes, stumbling Frankenstein-like through his tunnels, bellicose veins bulging in his swollen temples. Rambo always favored brute force over the more reasonable “hearts and minds” approach to modern warfare, and here, as if to prove his point, he rips both of those body parts from his foes’ chests. This character is a mess of contradictions, representing on one hand the permanent damage that military service can do to one’s soul while simultaneously suggesting what the ideal soldier looks like. Rambo wins the wars that America can’t. And the blood isn’t likely to stop here, or anytime soon. Related:.
While the killings in this continuation of Rambo saga are zestfully depicted, the movie overall is rote. Credit... Yana Blajeva/Lionsgate Rambo: Last Blood Directed by Adrian Grunberg Action, Adventure, Thriller, Western R 1h 41m Mexico is a North American country of over 700, 000 square miles, comprising 31 states. At least that’s the case in our reality. In the reality of “Rambo: Last Blood, ” starring Sylvester Stallone as the titular vengeful killing machine, Mexico is a very, very bad neighborhood that’s about a 40-minute drive from the peaceful Arizona ranch where our hero will, if the title of this movie is to be trusted, make his final stand. On this ranch, the aged warrior John Rambo trains horses, forges sharp metal objects and looks after a network of tunnels he has built beneath the house. His motivation for so doing is tied in with his war trauma, and postwar trauma, and all the stuff that happened to him in the multiple other Rambo movies. “First Blood” (1982) was a relatively thoughtful picture about a damaged Vietnam vet, but the sequels were reactionary exercises in bloodletting. While the Mexican villains of this movie suggest some sort of similarly retrograde statement, this picture doesn’t have a political ax to grind so much as a will to go full grindhouse. “I need to go to Mexico, ” Rambo’s teen ward Gabriela ( Yvette Monreal) announces one morning. “Why would you wanna do that?, ” Rambo asks. She has her reasons, and soon after satisfying them, she is drugged and kidnapped by sex traffickers. It’s just the beginning of her ordeal — the poor character is, rather offensively, but a prop to trigger Rambo’s killing rage. He satisfies it by luring the traffickers back to his booby-hatched ranch, where he ticks them off using gory methods derived from oodles of Z movies. While the killings (replete with beheadings, dismemberments and more) are zestfully depicted — the director Adrian Grunberg has a way with pace and bloody impact to be sure — the picture overall is rote, mechanical. With the bad guys dispatched, old Rambo goes to the rocking chair on the ranch house’s porch and reflects on his busy day. The movie goes semi-sepia, and we are treated to misty watercolor memories going back to the first “Rambo” movie; then we’re in full metal jacket Rambo world, with him shooting at people and at other stuff, then we’re back with him on the porch. At which point one expects the movie will loop back again, because why not? Rambo: Last Blood Rated R for face-smashings/removals and all that sort of thing. Running time: 1 hour 29 minutes.
This athletically built, dark-haired American actor/screenwriter/director may never be mentioned by old-school film critics in the same breath as, say, Richard Burton or Alec Guinness; however, movie fans worldwide have been flocking to see Stallone's films for over 30 years, making "Sly" one of Hollywood's biggest-ever box office draws. Sylvester Stallone was born on July 6, 1946, in New York's gritty Hell's Kitchen, to Jackie Stallone (née Labofish), an astrologer, and Frank Stallone, a beautician and hairdresser. His father was an Italian immigrant, and his mother's heritage is half French (from Brittany) and half German. The young Stallone attended the American College of Switzerland and the University of Miami, eventually obtaining a B. A. degree. Initially, he struggled in small parts in films such as the soft-core The Party at Kitty and Stud's (1970), the thriller Klute (1971) and the comedy Bananas (1971). He got a crucial career break alongside fellow young actor Henry Winkler, sharing lead billing in the effectively written teen gang film The Lords of Flatbush (1974). Further film and television roles followed, most of them in uninspiring productions except for the opportunity to play a megalomaniac, bloodthirsty race driver named "Machine Gun Joe Viterbo" in the Roger Corman-produced Death Race 2000 (1975). However, Stallone was also keen to be recognized as a screenwriter, not just an actor, and, inspired by the 1975 Muhammad Ali-Chuck Wepner fight in Cleveland, Stallone wrote a film script about a nobody fighter given the "million to one opportunity" to challenge for the heavyweight title. Rocky (1976) became the stuff of cinematic legends, scoring ten Academy Award nominations, winning the Best Picture Award of 1976 and triggering one of the most financially successful movie franchises in history! Whilst full credit is wholly deserved by Stallone, he was duly supported by tremendous acting from fellow cast members Talia Shire, Burgess Meredith and Burt Young, and director John G. Avildsen gave the film an emotive, earthy appeal from start to finish. Stallone had truly arrived on his terms, and offers poured in from various studios eager to secure Hollywood's hottest new star. Stallone followed Rocky (1976) with F. I. S. T. (1978), loosely based on the life of Teamsters boss "Jimmy Hoffa", and Paradise Alley (1978) before pulling on the boxing gloves again to resurrect Rocky Balboa in the sequel Rocky II (1979). The second outing for the "Italian Stallion" wasn't as powerful or successful as the first "Rocky"; however, it still produced strong box office. Subsequent films Nighthawks (1981) and Victory (1981) failed to ignite with audiences, so Stallone was once again lured back to familiar territory with Rocky III (1982) and a fearsome opponent in "Clubber Lang" played by muscular ex-bodyguard Mr. The third "Rocky" installment far outperformed the first sequel in box office takings, but Stallone retired his prizefighter for a couple of years as another mega-franchise was about to commence for the busy actor. The character of Green Beret "John Rambo" was the creation of Canadian-born writer David Morrell, and his novel was adapted to the screen with Stallone in the lead role in First Blood (1982), also starring Richard Crenna and Brian Dennehy. The movie was a surprise hit that polarized audiences because of its commentary about the Vietnam war, which was still relatively fresh in the American public's psyche. Political viewpoints aside, the film was a worldwide smash, and a sequel soon followed with Rambo: First Blood Part II (1985), which drew even stronger criticism from several quarters owing to the film's plotline about American MIAs allegedly being held in Vietnam. But they say there is no such thing as bad publicity, and "John Rambo's" second adventure was a major money spinner for Stallone and cemented him as one of the top male stars of the 1980s. Riding a wave of amazing popularity, Stallone called on old sparring partner Rocky Balboa to climb back into the ring to defend American pride against a Soviet threat in the form of a towering Russian boxer named "Ivan Drago" played by curt Dolph Lundgren in Rocky IV (1985). The fourth outing was somewhat controversial with "Rocky" fans, as violence levels seemed excessive compared to previous "Rocky" films, especially with the savage beating suffered by Apollo Creed, played by Carl Weathers, at the hands of the unstoppable "Siberian Express". Stallone continued forward with a slew of macho character-themed films that met with a mixed reception from his fans. Cobra (1986) was a clumsy mess, Over the Top (1987) was equally mediocre, Rambo III (1988) saw Rambo take on the Russians in Afghanistan, and cop buddy film Tango & Cash (1989) just did not quite hit the mark, although it did feature a top-notch cast and there was chemistry between Stallone and co-star Kurt Russell. Philadelphia's favorite mythical boxer moved out of the shadows for his fifth screen outing in Rocky V (1990) tackling Tommy "Machine" Gunn played by real-life heavyweight fighter Tommy Morrison, the great-nephew of screen legend John Wayne. Sly quickly followed with the lukewarm comedy Oscar (1991), the painfully unfunny Stop! Or My Mom Will Shoot (1992), the futuristic action film Demolition Man (1993), and the comic book-inspired Judge Dredd (1995). Interestingly, Stallone then took a departure from the gung-ho steely characters he had been portraying to stack on a few extra pounds and tackle a more dramatically challenging role in the intriguing Cop Land (1997), also starring Robert De Niro and Ray Liotta. It isn't a classic of the genre, but Cop Land (1997) certainly surprised many critics with Stallone's understated performance. Stallone then lent his vocal talents to the animated adventure story Antz (1998), reprised the role made famous by Michael Caine in a terrible remake of Get Carter (2000), climbed back into a race car for Driven (2001), and guest-starred as the "Toymaker" in the third chapter of the immensely popular "Spy Kids" film series, Spy Kids 3-D: Game Over (2003). Showing that age had not wearied his two most popular franchises, Stallone has most recently brought back never-say-die boxer Rocky Balboa to star in, well, what else but Rocky Balboa (2006), and Vietnam veteran Rambo (2008) will reappear after a 20-year hiatus to once again right wrongs in the jungles of Thailand. Love him or loathe him, Sylvester Stallone has built an enviable and highly respected career in Hollywood; plus, he has considerably influenced modern popular culture through several of his iconic film characters. More.
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