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>**Col. Sam Trautman**: _Think about what you're doing. The building's perimeter is covered. No exit. There are nearly 200 men out there and a lot of M-16s. You did everything to make this private war happen. You've done enough damage. This mission is over, Rambo. Do you understand me? This mission is over. Look at them out there. Look at them. If you won't end this now, they will kill you. Is that what you want? It's over, Johnny. It's over._
>**John Rambo**: _NOTHING IS O__VER. Nothing. You just don't turn it off. It wasn't my war. You asked me, I didn't ask you. And I did what I had to do to win, but somebody wouldn't let us win. And I come back to the world, and I see all those maggots at the airport, protesting me, spitting, calling me "baby killer", and all kinds of vile crap. Who are they to protest me, huh? Who are they, unless they been me and been there, and know what the hell they're yelling about?_
>**Trautman**: _It was a bad time for everyone, Rambo. It's all in the past now._
>**Rambo**: _For you. For me, civilian life is nothing. In the field, we had a code of honour. You watch my back, I watch your's. Back here, there's nothing._
>**Trautman**: _You're the last of an elite group. Don't end it like this._
>**Rambo**: _Back there, I could fly a gunship. I could drive a tank. I was in charge of million dollar equipment. Back here, I can't even get a job PARKING CARS. Where is everybody? Oh, God. I had a friend, was in the Air Force. I had all these guys, man. Back there, I had all these fucking guys who were my friends. Back here, there's nothing. Remember Danforth? He wore this black headband, and he took one of those magic markers. He mailed it to Las Vegas, 'cause we were always talking about Vegas, and this fucking car, this red '58 Chevy convertible, he was talking about this car; he said we were gonna cruise 'til the tires fall off. [begins sobbing] We were in this bar in Saigon and this kid comes up, this kid carrying a shoe-shine box. And he says, "Shine, please, shine". I said "No." He kept asking, and Joey said "Yeah." And, I went to get a couple beers, and the box was wired, and he opened up the box, fucking blew his body all over the place. And he's laying there, and he's fucking screaming, there's pieces of him all over me, and I'm tryin' to pull him off, you know, he's my friend and he's all over me. I got blood and everything, and I'm trying to hold him together, put him together, his fucking insides keep coming out, and nobody would help. Nobody would help, and he's saying "I wanna go home. I wanna go home." He keeps calling my name. "I wanna go home, Johnny. I wanna drive my Chevy". I said "With what? I can't find your fucking legs. I can't find your legs." I can't get it out of my head. I've dreamed it for seven years. Every day, I have this. And sometimes, I wake up, and I don't know where I am. I don't talk to anybody. Sometimes a day, a week, I can't put it out of my mind._
- _First Blood_ (1982); Wri. Michael Kozoll, William Sackheim, Sylvester Stallone, (based on the 1972 novel by David Morrell); Dir. Ted Kotcheff
>**Maj. Roger Murdock**: _Trautman, I still don't think you understand what this is all about._
>**Trautman**: _The same as it always is. Money. In '72 we were supposed to pay the Cong four-and-a-half billion in war reparations. We reneged, they kept the POWs, and you're doing the same thing all over again._
>**Murdock**: _And what the hell would you do, Trautman? Pay blackmail money to ransom our own men and finance the war effort against our allies? What if some burn-out POW shows up on the six o-clock news? What do you want to do? Start the war all over again? You wanna bomb Hà Nội? You want everybody screaming for armed invasion? Do you honestly think somebody's gonna get up on the floor of the United States Senate, and ask for billions of dollars for a couple of forgotten ghosts?_
- _Rambo: First Blood Part II_ (1985); Wri. Sylvester Stallone, James Cameron (from a story by Kevin Jarre); Dir. George P. Cosmatos
>**Trautman**: _You expect sympathy? You started this damn war, now you'll have to deal with it._
>**Col. Alexei Zaysen**: _And we will. It is just a matter of time before we achieve a complete victory._
>**Trautman**: _There won't be a victory. Every day, your war machines lose ground to a bunch of poorly-armed, poorly-equipped freedom fighters. The fact is that you underestimated your competition. If you'd studied your history, you'd know that these people have never given up to anyone. They'd rather die than be slaves to an invading army. You can't defeat a people like that. We tried; we already had our Việt Nam. Now you're going to have yours._
- _Rambo III_ (1988); Wri. Sylvester Stallone, Sheldon Lettich; Dir. Peter MacDonald
>**Rambo**: _Go live your life 'cause you've got a good one._
>**Sarah Miller**: _It's what I'm trying to do._
>**Rambo**: _No, what you're trying to do is change what is._
>**Sarah**: _And what is?_
>**Rambo**: _That we're like animals. It's in the blood. It's natural. Peace? That's an accident. It's what is. When you're pushed, killing's as easy as breathing. When the killing stops in one place, it starts in another, but that's okay, 'cause you're killing for your country. But it ain't your country who asks you, it's a few men up top who want it. Old men start it, young men fight it, nobody wins, everybody in the middle dies, and nobody tells the truth. God's gonna make all that go away? Don't waste your life, I did. Go home._
- _Rambo_ (2008); Wri. Art Monterastelli, Sylvester Stallone; Dir. Sylvester Stallone
In the torrent of negative reviews that greeted _Rambo: Last Blood_, one that stood out was Richard Roeper's zero-star rant for _The Chicago Sun Times_, in which he said of the film, "_this is a gratuitously violent, shamelessly exploitative, gruesomely sadistic and utterly repellent piece of trash_". I agree with pretty much all of that sentence. And I loved it. But let me segue into asking a question. Which is the more "responsible" - the hard R-rated movie that makes no bones about its violent content, or the equally violent PG-13 movie that gets around the issue by removing the gore but leaving the savagery? _Last Blood_ is only moderately more violent than the movies in the _Taken_ franchise, for example, but it's a damn-sight more honest in its depiction of the impact of violence on the human body. It's like the old joke about _The A-Team_ - it didn't matter what the level of violence was, the fact that we never saw blood and never saw anyone die meant it was family entertainment. _Last Blood_ is not family entertainment. Nor is it trying to be. Nor does it want to be. It's a throwback to a time before studios saw an R as a death-knell; a threadbare story leading to an extended action scene of ever-increasing ridiculousness and viciousness.
And it's awesome.
In an age of political correctness, when almost everyone with a public voice is afraid to say anything that might earn them a ticking off, it's easy enough for a film to stand out, but only if the filmmaker has the balls to stand there relatively alone. S. Craig Zahler's superb _Dragged Across Concrete_ (2018) was a good recent example, an unashamedly trashy piece of exploitation that wasn't afraid to air opinions that could be considered (say it quietly) right-wing. Now, make no mistake, _Last Blood_ is no _Dragged Across Concrete_; it's barely a movie at all (the script is so rudimentary, it rivals the dizzying complexities of _Rocky IV_), and it's by far the least political entry in the _Rambo_ franchise thus far. Is it xenophobic? Yes. Is it racist? To a certain extent. Is it likely to stoke irrational fears about the evils of Mexico and permeability of the southern border? Possibly. What it definitely is, however, is a film in which Rambo doesn't just kill his enemies, he kills them several times just to be sure (like the unfortunate schmuck who is decapitated via close-range shotgun blast and then shot several times in the torso for punctuation). What it definitely is, is a film in which on no less than two occasions, Rambo uses his bare hands to extract internal organs. What it definitely is, is an immensely enjoyable no-holds-barred revenge actioner that's about as interested in political correctness as it is in millennial angst. Which is to say, not even remotely.
And it's awesome.
When last we saw former Green Beret John J. Rambo (Sylvester Stallone), it was 2008, and he had returned to the US for the first time since 1985. Heading to his father's ranch in Bowie, Arizona, the implication was that maybe, after conflicts in Việt Nam (twice), Afghanistan (where he fought alongside the Mujahideen), and Myanmar (where he faced off against the Tatmadaw), and an extended residency in Thailand, he had finally come home in both a literal and existential sense. _Last Blood_ picks up the story 11 years later. His father has died, but Rambo remains at the ranch, breaking in horses and taking medication to keep his PTSD partially under-control. He shares his home with live-in housekeeper Maria Beltran (Adriana Barraza) and her teenage granddaughter Gabriela (Yvette Monreal), who refers to him as uncle and who he helped to raise. All is quiet until Gabriela is contacted from Mexico by her friend Gizelle (Fenessa Pineda), who tells her she has located Gabriela's father Manuel (Marco de la O), who walked out on her and her dying mother when she was still a child. Soon to be heading off to college, Gabriela is determined to look Manuel in the eye and ask why he left his family. Although advised by both Rambo and Maria not to go to Mexico, she ignores their warnings and heads south anyway. After Manuel proves as cruel as Rambo told her he was, she and Gizelle head out for a few drinks, but she is drugged and abducted by the Martinez brothers, Hugo (Sergio Peris-Mencheta) and Victor (Óscar Jaenada), who run a prostitution ring. Meanwhile, Rambo comes looking for her, but earns a beating for his troubles, only surviving because of the intervention of Carmen Delgado (Paz Vega), a local journalist investigating the Martinez cartel. And so, realising he can't fight the cartel on their territory and terms, Rambo decides to lure them back to Arizona, where he can fight them on his.
Introduced in David Morrell's superb 1972 novel, _First Blood_, the character of John Rambo was brought to the screen 10 years later, in the film of the same name, written by Michael Kozoll, William Sackheim, and Stallone, and directed by Ted Kotcheff. A Việt Nam vet who finds himself unable to integrate back into a society that now hates him, he runs afoul of Sheriff Will Teasle (Brian Dennehy) in the small town of Hope, WA, against whom he wages a guerrilla war. One of many Việt Nam-vet-comes-home-and-is-rejected-by-society films made in the years following the end of the Việt Nam War (1955-1975), the character was praised as a particularly salient embodiment of the problems of unaddressed-PTSD. The novel ended with Rambo's commanding officer, Col. Trautman (played in the film by Richard Crenna) recognising that the man who came home from Việt Nam could never be at peace in the US and shooting him dead in an act of mercy. The film was also supposed to end this way, but test audiences disliked the sense of nihilism with which they were left, and so a new ending was shot which saw Rambo arrested and imprisoned, but very much alive.
Of course, Rambo hadn't been conceived as a muscle-bound action hero; Morell has always maintained the novel was a piece of social protest, and Stallone has spoken about how he thought of the film as the slightly more action-orientated, but equally serious, cousin of prestige dramas such as Hal Ashby's _Coming Home_ and Michael Cimino's _The Deer Hunter_ (both 1978). Nevertheless, it was the action elements of the film rather than the inherent tragedy of the character that audiences embraced, and for _Rambo: First Blood Part II_ (1985), written by Stallone and James Cameron, from a screen story by Kevin Jarre, and directed by George P. Cosmatos, Rambo took his first steps towards becoming a cartoon, as now the misunderstood vet who just wanted to be left alone was given a chance to return to Việt Nam to fight the war the right way, rescuing undeclared POWs from the clutches of a Soviet/Việt Nam conspiracy. With his actions in the second film earning him a pardon for his actions in the first, in _Rambo III_ (1988), written by Stallone and Sheldon Lettich, and directed by Peter MacDonald, things got even more ridiculous, as Rambo, now the embodiment of jingoistic Regan-era American militarism, was tasked with entering Afghanistan in the midst of the Soviet-Afghan War, where he would fight alongside the Mujahideen against the Soviet war machine. Finally, in _Rambo_ (2008), written by Art Monterastelli and Stallone, and directed by Stallone, Rambo must penetrate into Myanmar to rescue a group of Christian aid workers from the clutches of the Tatmadaw, an entire battalion of whom he massacres with a commandeered M2 Browning in a gloriously violent finale.
Undeniably, for better or worse, the _Rambo_ films have always found a way to tap into some of the major geopolitical issues of the era in which they were made. The first film, made in the second year of Reagan's presidency, was a thoughtful and genuinely heartfelt plea for understanding, arguing that you can't create killing machines for use in a foreign war and then simply bring them home and expect them to reintegrate. Indeed, it's a film that's relatively uninterested in violence _per se_ (Rambo only indirectly kills one person, and it's an accident). The next two films also took place during Reagan's presidency, at a time when although the wounds of Việt Nam were still fresh, the idea of American exceptionalism had started to morph into a kind of over-compensatory machismo. It was for this reason that the perceptive and justified seriousness of the first film became diluted as Rambo transitioned from being an allegory for the real struggles of vets to an embodiment of juvenile wish-fulfilment (I mean, in the second film, he literally gets a second crack at winning in Việt Nam). In essence, he had transitioned from a symbol for the psychological damage of war to an undefeatable representative of American military might. The fourth film came out in the final year of George W. Bush's presidency at a time when the US (in no small part because of an illegal war) had once again risen to the position of global police force, although the fact that he's on a mission to save, of all things, Christian aid workers, is a bit on the nose even for this franchise.
All of which brings us to _Last Blood_. Written by Stallone and Matthew Cirulnick, from a story by Dan Gordon, and directed by Adrian Grunberg (_Get the Gringo_), _Last Blood_, of course, comes in the fourth year of Donald Trump's presidency, and sees Rambo facing off against the bad _hombres_ south of the border (they bring drugs, they bring crime, they're rapists, although some, he assumes, are good people). And with a border this porous (characters easily cross over with weaponry, drugs, dead bodies, and, on one occasion, a decapitated head on the passenger seat), the only person who can protect the US of A from such villains is Don J. Trumpo...sorry, John J. Rambo. It's all gloriously juvenile, gloriously transparent, and gloriously entertaining.
However, having said that, this is far and away the least political film of the franchise. Whilst the first and second both dealt explicitly with Việt Nam, the third with the Soviet-Afghan war, and the fourth with the Myanmar Civil War, _Last Blood_ doesn't explicitly deal with a real-world conflict. It certainly alludes to real-world controversies, primarily issues related to the US-Mexican border, but it's not set in an inherently politicised _milieu_ the way the previous films have. And this ties into a crucial point – in moving out of the arena of politics, the storyline is more personal, which is important insofar as Rambo himself is presented somewhat differently this time, showing more emotion than we've seen from him since the opening few scenes of _First Blood_ (which Stallone has rightly pointed to as the last time we saw a vulnerable, very much human Rambo). This aspect of the film, in and of itself, is pretty fascinating, as it's also the only time since _First Blood_ where his PTSD has been so front-and-centre, as that element of his character was downplayed to the point of being virtually forgotten in the other three films. Here, not only is Rambo shown as still suffering the effects, he actually leans into it, using his trauma to motivate himself, essentially getting himself back into a Việt Nam mindset, which is a pretty interesting way of presenting a character who has been rendered in simpler and simpler terms as the films have gone on. In this sense, the early parts of the film work extremely well from a psychological point of view – we see Rambo in a home, we see him trying to keep his demons at bay, we see him, for arguably the first time, with something to lose.
However, for better or worse, the film's big selling point isn't the political allegory or the character's psychology – it's the action, the "suit-up" moment when Rambo unleashes hell. Here, the entire third-act is one long action scene, and it's entertaining enough to temper some of the political immaturity and distasteful stereotypes that lead up to it. Luring the Martinez cartel back to Arizona, Rambo hides out in a series of tunnels under the ranch, stalking and dispatching them one by one with simple, but vicious, man-made traps, in a scene that partly recalls his forest pursuit of Teasel and his men early in _First Blood_.
Well shot by director Grunberg and cinematographer Brendan Galvin (_Veronica Guerin_; _Immortals_; _Self/less_), it's kind of the inverse of the sleek action scenes found in the _John Wick_ films - it's dark, gritty, and brutal, and whereas those films often create the impression of near weightlessness, here, it's the tangible physicality that works so well, the sense of visceral devastation that results from a particular impact rather than anything balletic. Editors Carsten Kurpanek (_Kickboxer: Vengeance_) and Todd E. Miller (_The Expendables 2_; _The Purge: Election Year_; _Mechanic: Resurrection_) also do terrific work here. Large portions of the scene take place in reasonably poorly lit underground tunnels, with very little to distinguish one location from another, so the fact that the grammar of the combat is so well maintained is a credit to them – you always know roughly where you are at any given moment, and never once did I find myself losing consciousness because of a flurry of incoherent edits (another problem with the _Taken_ films).
Of course, a vital aspect of any Rambo movie is that a lot of what some people love will be the exact things that others despise. In this case, it's the laughably simplistic politics, the barely disguised xenophobia, the brutal violence, and the fetishisation of weaponry. On this last point, I can't recall, off the top of my head, another film which is so blatant in its glorification of guns, whether it's the long tracking shots of Rambo's collection of rifles, or the way the film lingers on the destruction they mete out. In short, this is the NRA's wet dream – an all-American hero dispensing biblical assault rifle-based vengeance on a bunch of greasy Mexican scumbags. Charlton Heston would be proud, bigly (yeah, I know, I'm mixing my right-wing references).
The film's handling of the Mexican portion of the story is also a good example of how you either decry the stupidity or celebrate the ridiculousness. The character of Gazelle, for example, dresses like the only research the costume department did was to watch Ramón Menéndez's _Stand and Deliver_ (1988) – she literally wears pleated khakis, a chequered blue and white shirt, dark lip-liner, and a bandana tied at the front. Similarly, poor Gabriela gets abducted after one night (count 'em, ONE night) in Mexico, where, apart from Carmen, every single character we meet is either in the cartel, involved in prostitution, or, in a lot of cases, both. And as for the aforementioned porousness of the border, I'm not sure if it's appallingly lazy writing or satirical genius, but Rambo (who at this point is carrying some questionable items) gets back into the US by simply finding a quiet section and ploughing his truck through the wire mesh fence (ignoring a sign warning against illegal crossings, because Rambo spits at signage). He wouldn't have been able to do that if there'd been a wall.
On the other hand, a criticism that I would treat a little more seriously is that although this is supposed to be the last chapter in the franchise, the script doesn't have any sense of finality. Nothing happens at any point where you could say to yourself, "that seems a fitting send-off for the character". From the generic and mainly faceless villains to the rote dialogue to the poorly constructed narrative beats, never at any point did this feel like a culmination. In fact, the previous film felt more final than this one does, as at least that one gave the character a degree of closure. And speaking of the script, much as _Rocky IV_ was two boxing matches loosely tied together by montages (including a montage in which Rocky thinks about montages), _Last Blood_ is 40 minutes of plot loosely connected to an extended action scene via, you guessed it, a series of montages.
Finally, it would be remiss of me not to mention David Morrell's opinion on the film. At one point, Morrell was actually working on a script for the film with Stallone, which he said gave Rambo a "_soulful journey_", and featured a "_really emotional, powerful story_". However, their draft was rejected in favour of an earlier idea which saw Rambo head to Mexico to rescue a young girl. Upon seeing the completed film, Morrell was far from impressed, writing on Twitter, "_the film is a mess. Embarrassed to have my name associated with it_", and later telling _Newsweek_,
>_I felt degraded and dehumanised after I left the theatre. Instead of being soulful, this new movie lacks one. I felt I was less a human being for having seen it, and today that's an unfortunate message._
Make of that what you will.
In many ways, _Last Blood_ is a hilariously bad film. But it's also a hugely entertaining film. And sure, it continues a process which has seen a character who was once a representative for the nation's wounded psyche and just how dehumanising war can be, transition into an unstoppable jingoistic war machine. And sure, the violence is off the chart. And sure, the politics are hilariously naïve at best, dangerously reductionist at worse, with Rambo coming to embody some of the current administration's most racist ideological arguments. But it's extremely well shot, Stallone gives a predictably strong performance, the action is intense, and, for me, none of the problems are so large as to render the film unenjoyable. Approach it with the right frame of mind, and you'll find much to appreciate. Action (and violence) filled sequel (and likely last) in the Rambo franchise. Not nearly as good as First Blood or Rambo (2008), but still darkly entertaining flick with another solid performance from Stallone who thankfully hasn't gone into the lazy realm like Steven Seagal.
There are some plot contrivances one has to get past but still enjoyed this entry and it is one insane of an ending. **3.75/5** _**Rambo goes to Mexico**_
Rambo (Sylvester Stallone) has been living on the family ranch in southern Arizona for the last ten years. When his niece (Yvette Monreal) goes missing across the border he has to fight a cartel of thugs to get her back. Paz Vega is on hand as a helpful journalist.
“Rambo: Last Blood” (2019) is the fifth and probably last of the Rambo franchise since Stallone was 72 during filming. While the plot is simple, with elements bringing to mind “One-Eyed Jacks” (1961) and “Conan the Barbarian” (1982), the film is a worthy addition to the series, albeit not quite as good as the previous one.
It provides what fans look for in a Rambo flick: A one-man-army situation with a noble cause and plenty of brutal action. While criticized for being “racist,” it’s no more racist than the other Rambo flicks. “Last Blood” never for a second suggests that ALL Mexicans are evil any more than ALL cops, Vietnamese, Afghans and Siamese were evil in the four previous films. Speaking of which, for me, this installment places third after “First Blood” (1982) and “Rambo IV” (2008).
The movie runs 1 hour, 29 minutes, and was shot in Santa Cruz de Tenerife, Canary Islands, Spain. There’s also an Extended Cut that runs 12 minutes longer.
GRADE: B The _Rambo_ franchise underwent a massive change after the first movie, and that new direction has stuck with the series ever since they put _Rambo_ in the title. But even all the way back in First Blood, John Rambo's actions seemed to have always been fuelled by desperation. In _Last Blood_ however, Rambo's actions are calculated, and personal. It's something I'd never really considered before, but I actually don't like this direction for the character. It's not that it doesn't make sense, because it does, just personally I preferred when Rambo was surviving the bad world that was happening to him, not creating it.
2008's _Rambo_ was over the top and its very existence seemed bizarre, but it also felt like John Rambo "came full circle" as it were, which sort of justified that existence. _Last Blood_ doesn't really feel like it re-opened or closed any circle. It kind of feels like an episode of a long-running show I haven't watched the last 10+ seasons of. Stallone seems to think he'll be getting a _Rambo 6_ where he's on a Rez, if that's the plan, why bother calling this one "_Last Blood_", and if it's not the case, why make this movie that starts and ends like it's supposed to slot in between other pieces of a story we haven't gotten yet?
End of the day, _Last Blood_ was okay. A low point for the series, arguably even the lowest, but it was a franchise that has always been at least a little enjoyable, so that's not too harsh a burn.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._
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Set somewhere in the future we are privy to a world where the roads are ruled by maniac gangs with souped up cars, and bikers that literally could come from hell. Trying to stop these marauding loons are the overstretched police force who themselves ride in exceptionally fast cars. At the front of this story is Max Rockatansky, a good honest cop trying to hold his own against the chaotic world that is forming around him. After his best friend is burned and left for dead he decides enough is enough and thinks about retiring from the service, but whilst on a vacation with his wife and child things go decidedly bad and Max becomes an avenging force of fury with devastating affect.
When evaluating this film I feel it really needs to be put into perspective just how brilliant a job director George Miller did with next to no cash to work with, in fact Miller edited the film in his own bedroom just to emphasise the low-fi nature of the beast. The costumes are excellent, the cast are terrific, with Mel Gibson as Max particularly impressive, and here we have villains to truly fit the word villainous, but it's the stunts and chase sequences that makes this film a rich rewarding experience. The opening ten minutes alone are pure adrenalin pumping genius, but the film as a whole delivers a crash bang wallop punch that has often been imitated since its release, but rarely bettered, and although the heart of the film is a simple revenge story, it grabs your attention and delivers right to the corking finale, 8/10.
Footnote: Region 2 Users should note that the bargain bucket Mad Max Trilogy flip pack set still contains the foolishly dubbed version of this film, incredibly stupid move from the American distributors. Though I had only seen the previous installment, 'Mad Max Beyond Thunderdome', which I enjoyed whilst a great many people didn't, with the present sequel earning ten (!?) Oscar nominations, I wanted to catch up on things before seeing the new film at the Cineplex. I was very pleased with this early film in the post-apocalyptic movie category, and can see how and why both it and star Mel Gibson became so successful. Other than Kenneth Anger's experimental film, 'Scorpio Rising', I have never seen a work that so fetishes both cars and the ritual of dressing, either for driving or for war. It's very well directed and suspenseful for a first-timer in Miller, and I'm so glad he's still helming the films of the series 36 years later! All that one has to do to see How To and How Not To Continue a Fine Franchise is compare how both George Miller and George Lucas have done this century. It's sad that they were so short on funds that only Gibson could be fitted with real leather in the film--I think I can rightly assume that money isn't a problem anymore... Who'd have thought we'd still be talking about a $350,000 film, 40 years after it was made? And who'd have thought it would be in a positive way. _Mad Max_ was one of the most formative films ever released, and not only is **one of** my favourite films, but is chief inspiration to my **actual** favourite film of all time, Neil Marshall's _Doomsday_.
_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._ For whatever reason, never had seen the original and doesn't disappoint, some good action and gut wrenching scenes defying the rules of killing pets and kids, Mel Gibson is quite good in the role and look forward to checking out the sequels. **3.75/5**
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**Slow in the first half** One would think that the ultimate showdown between two of the most iconic super-heroes would make for some downright compelling action-oriented exploits against a landscape of angst and destruction. Plus, it certainly did not hurt that exhilarating filmmaker Zack Snyder (‘300’) was at the helm in bringing together the colorfully and concocted confrontation between The Caped Crusader and The Man of Steel. Also, it should have been an effortless task to bring together **Batman v Superman: Dawn Of Justice** leading men Ben Affleck and Henry Cahill since they had prior experiences donning heroic attire as mighty super-heroes on call to save the day. So why then does Snyder’s big-budgeted connect-the-dots comic book caper feel so incoherently stiff and aimless?
The dour randomness of **Batman v Superman: Dawn Of Justice** is quite disappointing because this moping actioner wants to grab more than it can chew in its crowded mouth. Snyder and screenwriters David S. Goyer and Chris Terrio aspire to plug in such contemplative issues pertaining to moral ambivalence, political platitudes and religious themes but none of these factors energize or sustain this action-packed narrative that seems to slouch all at the expense of a sluggish approach to the mechanical hedonism that labors.
There is no doubt that **Dawn of Justice** has its share of visual opulence as this is obviously expected in an expansive superhero saga where the proven selling point are two mythical comic book titans spearheading the pumped-up proceedings. Again an overreaching script that plods along, a couple of super-powered sourpusses going the moody motions and the lack of carefree robust action undermine the potential explosiveness that **Dawn of Justice** could have capitalized on with dynamic aplomb.
Sure, there is a noted curiosity and interesting element about the topic of “heroism fatigue” and hidden demons that could have certainly contributed to the psychological strain for our Caped Courageous Ones. Still, **Dawn of Justice** never quite turns this premise into a sparkling case of burn-out conviction, Instead, knuckle-dragging duo of Bruce Wayne/Batman (Affleck) and Clark Kent/Superman (Cavell) make the common sleeping pill look like an excitable bag of M&M candy treats. Thankfully, another fan favorite superhero in the form of Wonder Woman (Gal Godot) is thrown into the mix to break up the monotony of the boorish Boys Club. Unfortunately, the appearance of the wily Wonder Woman during the tail end of the second half is too little and too late for her welcomed presence to rescue the film’s clunky pacing.
Gotham’s Bruce Wayne and Metropolis’s Clark Kent are experiencing setbacks that could be perceived as reaching the depressive crossroads. For starters, a maturing Wayne’s/Batman’s crime-fighting prospects have been tailing off drastically. As for Kent/Superman his existence at the Daily Planet newspaper seems mundane especially when his boss in editor Perry White (Laurence Fishburne) declares that the public has moved away from print given the major impact of social media and other online resources. So yes…Wayne and Kent are in a critical funk in their professional lives both in and out of their familiar costumes. However, can the slumping cities afford two down-and-out superheroes when one can probably carry the load in rough, unsure times?
When the film establishes the dilemma that there can be only one muscle-bound ego to handle the affairs of the region’s unprotected this is where the **Batman v Superman** portion of **Dawn of Justice** looks as if the frenetic fantasy will percolate. Inexplicably, the hype involving the sparring twosome is put on hold as the exposition takes its tedious time building up the conflict to satisfy the clashing insecurities of the capable caped crime-stoppers. For those that witnessed Cavell’s mediocre **Man of Steel** a few years ago will probably understand the current bad blood that exists between the two super studs. Whatever the case both Batman and Superman have pegged each other as brawny bad news ambassadors…something that does not sit well with either struggling superhero as their revered reputations are on the line.
Naturally, there are other outside forces to consider as the acrimonious overtones continue to flow between the brooding mega-powers. The famed instigator in Superman foe Lex Luthor (Jesse Eisenberg) is realized as the high-tech billionaire nuisance that has an underlying scheme to eradicate both bickering super powers once and for all but not before Luthor pronounces his take on philosophical tirades. In the meantime, Lois Lane (Amy Adams) is on board to profess her undying love and support for her desired dreamboat Superman. Luthor loathing Superman while Lane fantasizing about her strong flashy fly boy. In other words it is business as usual. While Superman is trying to figure out his place in the sun Snyder piles on the bothersome dreamy anxieties that plague the aging Wayne.
**Batman v Superman: Dawn of Justice** is a jumbled mess. Snyder undertakes a convoluted production and tries to sell it as a sophisticated meeting of the misplaced minds between two embattled entities embroiled in uncertainty and super-sized cynicism. Still, Snyder’s vision is mishandled as he seems to have forgotten one crucial point–simply making an action movie that registers with genuine thrills. One cannot help but stumble upon the pretentiousness and piousness that ruins this boneless blockbuster. The film finally decides to stack on the combinations of boisterous match-ups involving everyone but the kitchen sink but all comes off as frivolously forced. Cavell was never really an enticing Superman ever since he donned the big “S” on his chest back in 2013’s** Man of Steel**. Affleck’s Batman is a little more palatable but the constant scowl (both on his face and on the mask) is too much to digest. One would not mind yelling at the screen for Affleck’s alter ego to lighten up a bit.
The supporting players are virtually wasted in this exhausting CGI popcorn pleaser. Eisenberg, normally a trustworthy performer with considerable scope, merely irritates as the punkish techno-magnate Luthor. The always radiant Adams is a wash as the gushing Lois Lane. Oscar-winner Jeremy Irons’s Alfred the butler won’t make anyone forget Micheal Caine’s take on Wayne’s trusty man servant anytime soon. Even the reliably adventurous Oscar-nominated actor Michael Shannon cannot exuberantly bring to life the menacing presence of Zod.
Humorless and hackneyed, **Batman v Superman: Dawn of Justice** will probably satisfy indiscriminate devoted fans that will buy into the proposed heralded rivalry. As for others, they will wonder what lies ahead in terms of other League of Justice movies that hopefully can muster up more entertaining stimulation than this over-indulgent doomsday dud. Is anyone up for **Wonder Woman vs. Redwing** with an empowering feminine twist?
**Batman v Superman: Dawn of Justice** (2016)
Warner Bros. Pictures
2 hrs. 30 mins.
Starring: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Laurence Fishburne, Jeremy Irons, Diane Lane, Gal Gadot, Holly Hunter, Michael Shannon, Ray Fisher
Directed by: Zack Snyder
MPAA Rating: PG-13
Genre: Science Fiction/Fantasy/Action and Adventure/Superhero Saga
Critic’s rating: ** stars (out of 4 stars)
(c) Frank Ochieng A bit slow but overall good. There are many sub plots in the movie that could've been made into independent movies of their own. > Know your enemy's weakness before challenging to a fight!
It is known that critics have no brain. It is the best Superman film as Henry Cavill in the red and blue suit. Yep, I know it is always DC versus Marvel, so it is then DC's reply to the 'Avengers'. I don't care their rivalries, as a film fanatic, I enjoy good films and I found it was so good. But I was a bit worried after the Superman was shown in a dark shade in the trailer, especially after Batwan was overly stylised by Nolan, I thought the black suit would take over. After watching the film I was relieved and happy that Batman was exposed.
Batman fans might have been disappointed, but for the superhero and DC fans, this film is a great treat. You can't compare it with 'Avengers', it had its own style. It follows the 'Man of Steel' and directed by the same director. Excellent cast. I have never been the Ben Affleck hater, so I had no objection to his role in this. He did good along with Cavill and others. He would do better in his solo Batman films if Zack Snyder is retained to script and direct them.
I'm not a comic book reader, so I did not know the story before the watch. I was surprised for the Wonder Woman's part in the film. The visuals were awesome, the story was unpredictable, well developed characters, cleverly composed scenes, wonderful stunt sequences and the film's overall tone was kind of dark and gloomy, a very satisfying superhero film. The content balance was perfect, but the characters did not do the same as we know Superman is a father of all superheroes.
I already watched it twice and I can't wait for its sequel. Especially looking forward for Jesse Eisenberg, because he was kind of stayed low in this and I hope his character Lex becomes much stronger. It is a PG13, and there's nothing botherable stuffs in it for the underage audience, but I felt it is targeted for adults because of the matured flavour. Don't think about that I said, just watch it, it will definitely entertain you well if not blow you away. Surely recommended to all.
8/10 I still have faith in the DCU but this movie had problems. Watch my full review here.
http://www.hweird1reviews.com/allreviews/bvsreview As I write this review I have just had a thoroughly disappointing movie experience and it so just happens that I have some strong feelings about the source material for this movie so be prepared for a bit of ranting and a few more “adult” words than usual.
I have to say that I bought this movie only because I felt I wanted it in my collection just for it to be complete. I was really expecting to be, shall we say, not impressed. A movie about Batman and Superman, heroes that I grew up with, fighting is not my kind of movie.
In the end I realized that my expectations of crappines was not enough. I really disliked this movie. In short succession this movie turns several of my childhood heroes to bad guys and the greatest superman bad guy into a unstable hippie-like jerk that goes through the movie behaving like he is a drug addict. So basically this movie went drown the drains for me straight away and then I have not even gotten started about the plot. Actually I felt so annoyed over this crap that I actually spent time taking notes while I was watching.
Let me see what I noted. Lex Luther is a fucking joke. Alfred, the same. Jimmy Olsen a fucking CIA agent? You got to be fucking kidding me! And not only does he screw Lois Lane but gets himself shot after a few seconds of screen time.
Same stupid nonsense about XXX being too powerful, is a threat and needs to be government controlled that has been used in hundreds. if not thousands, of crappy low and high budget action movies. I hate that crap. It is stupid, stupid, stupid.
Weird and totally uninteresting dream scenes, what the f... did the writer smoke? If they wanted to pad the movie it a) was a crappy way of doing it and b) why? With over three hours (Ultimate Edition) it is way to long for such a crappy movie anyway.
Oh, here is a (somewhat) positive note at least. It was indeed rather funny that they had chosen CNN to spew out the nonsense conspiracy theories about Superman being responsible for the bomb in the wheelchair. Fake news anyone?
I had a little bit of enjoyment of the movie during the last part of the movie when it finally turned into a bit of action. Batman’s car and plane was cool. The action, once Batman getting knocked on his head enough to get to his senses again, was a nice chunk of CGI goodness. That I have to admit.
Okay, after three, mostly painful, hours the movie finally comes to an end. And what an end. Meh!!! Not only was it a crappy ending but they managed to drag it out forever with excruciatingly boring scenes.
I am sure a lot of the above can be said to be subjective. For instance my dislike of the way my childhood characters where treated. I am not a professional reviewer though so this is my personal take of the movie. If you don’t like it, fine with me and good for you but do not feel obliged to tell me about it. Very short synopsis : Batman has been hit hard by the events of Man of Steel : a "god" descends on earth, is confronted by another god, and they fight, killing thousands of humans. He learns about a rock coming from his birth planet that can weaken or kill him. It's the property of Lex Luthor, who could target Superman too, but with evil purpose.
So I won't go deeper in the story. This movie, unlike most other superhero movie, is targeting adults. I don't mean 18 or 21 year old, I mean mature beings that have endured bad things in life, and have taken the time to see the goods and bads of humanity. Yes, not the Marvel (Guardians of the galaxy, Ant man) target audience. Batman makes it clear (rejoined by the senator) : if a being is so powerful he can't be killed and can kill thousands, even if for now he does good, what happens if he becomes a villain? What laws or weapons can stop him?
Now going back to the movie and how it presents its argument. We have Batman's introduction to the new DC movie universe (death of parents, tortured psyche ...) done during the opening credits. That is both efficient and powerful. Then we see Bruce Wayne at the time of the Superman / Zod battle. We also see humans being scared and killed. So, yeah it's superhero movie making not showing merry world with superheroes saving humans. And doing funny quotes. It's people (or super people) facing tragedy and growing up to see how the future has to be settled. And then a new villain appears. Or rather, he appears as a careless billionnaire showing off - how could he be perceived as dangerous? He has the chance of having Batman wanting to take down Superman, when he wants the same thing, so he can go for his secondary plan to use Krypton technology to change the world.
So the last part of the movie is the fight of 3 super heroes against a creature created by the "god"'s technology and humanity's madness/evilness. Yes, it's not a villain that is there because you need one to fight the bad guys, it's yet another consequence of Kryptonians coming to earth.
So the films rolls out and I'm so stunned by the content I feel I was treated as a human being, not as a popcorn eating teenager or a comics fan. Just as someone that could appreciate great movie making.
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