John Rambo

Ein verdammt blutiges Pflaster auf die Hilflosigkeit, den gedrosselten Hass und Frustration, welche man beim Verfolgen immer weiterer gespenstiger Genozidserscheinungen fühlt. Sly kennt die Arterie des Action-Genres nur allzu gut und weiß, dass das vergossene Blut oder umherfliegende Eingeweiden eine starke therapeutische Wirkung haben können, wenn man an der richtigen Stelle schneidet. Umso mehr gilt es, wenn sich zu deren Urheberschaft ein Mann bekennt, für welchen der Krieg das einzige zu Hause ist, das er überhaupt kennt. Ich weiß es zu schätzen, wie wenig John Rambo die nostalgische Note anspielt - ein solches Ereignis hätte sich in den 80er Jahren höchstens im Traum eines verrückten Metzgers behauptet - wie wenig überflüssige Psychologie wir doch im Film auffinden und wie wenig jedwede moralische Fragen aufgeworfen werden. Das ganze ist so blutig wie das Alte Testament, ethisch gesehen selbstverständlich vollkommen neben der Kappe, jedoch zeitgleich purifizierend und wird buchstäblich unter Druck gesetzt von der verblödedsten und verführerischsten Heldenromantik. Rambo blickt auf das Schlachtfeld (und seine Niederlage nach dem Krieg) dies ist eine der besten Abbildungen der gesamten Serie. Sie hat einige Korrektheitslemente absolviert, um zu einem köstlichen Werk an Haudraufgefilme herauszubilden, die am besten Johns "zum Teufel mit der Welt" charakterisiert. Am meisten geht es da ums Gefühl, und meines war sehr euphorisch, als ich mir Rambo angesehen habe. Im Grunde genommen ist das vollkommener Unsinn, aber um den Geht es ja hier nicht. (09.08.2010)

Nach einer sehr, sehr langen Zeit tat es mir leid, dass ein Film, in dem es nur um das Töten geht, nicht länger dauert. Der letzte Rambo ist ein nostalgischer B-Movie mit russischen digitalen Effekten, der physisch intensiver als die größenwahnsinnigen Angelegenheiten von Michael Bay ist. Zwei effektvolle Szenen (der erste Auftritt mit dem Bogen, die Bombe), eine perfekte Genre-Reinheit und die Figur von John Rambo – darum geht es und es reicht vollkommen. Sag nichts und geh einfach. Das Rambo-Motiv von Jerry Goldsmith am Ende braucht keinen Kommentar. Wenn Sly noch ein paar Minuten hinzugefügt hätte und wenn er sich noch mehr den Figuren gewidmet hätte, hätte es der beste Actionfilm des Jahres sein können. (25.02.2008)

Sylvester Stallone is a special case. He started as an actor in a pornographic film and the professional critique expresses itself about him in the style of "master of monosyllabic sentences" or "master of one expression," but Stallone doesn't mind at all, and neither do his fans. For his work in front of the camera, which I wouldn't call acting, he has received an incredible amount of Golden Raspberries for worst acting performances. He has won it ten times and has been nominated thirty times. Among other things, I think he won one for Rambo 2. He is an honorable holder of the title of Worst Actor of the Century. Even the first Rambo movie is rough in terms of his acting performance, but it was compensated by a relatively decent screenplay that dealt with the post-war syndrome, and several character actors were involved. This Rambo has none of that; it's unnecessary to talk about the screenplay. The acting performances are practically non-existent, and the whole film can be reduced to an endless series of fight scenes in the most fairy-tale-like spirit of action movies. I didn't enjoy this kind of fairy-tale story for adults even when I was fifteen. It lacks even the slightest satire or realism. It's just a celebration of killing. It has relatively decent camera work and editing, so I'll give it one star for that. Overall impression: 15%. This kind of film is interesting more from a sociological point of view. People go to see it for the same reason that viewers once flocked to gladiator matches or why professional boxing or wrestling matches are so popular. It's not worth pondering why such productions have such high ratings and effortlessly defeat Oscar-winning films; it's more proof that any rankings are purely indicative, and one must continuously engage their brain. (10.03.2008)

The eighties strike back! The most brutal pensioner on the planet makes a return, this time staying somewhere half way between the believable rawness of part one and the B-movie over-the-topness of part two. What it lacks in terms of story, it makes up for with high marks for style of presentation. It’s true that at the beginning you laugh a couple of times over occasional laughable dialogs “worthy of thought", but you have fun all the same. However, after the “metaphor" with the box, it all reverts to its old ways. Just considerably more brutally. Much more brutally. The elderly ferryman is as efficient at his work as he was when he was young, and especially Rambo’s fighting symbiosis with the School Boy could have done with a greater number of scenes. Although Stallone as a screenwriter was disappointing, as a director he maintains solid craft until the very end by scattering images reminiscent of past episodes throughout this movie. And as an actor? A classic. One expression, a hard stare, muscles pumped up with steroids (he really needs that canon at the end because he couldn’t even put the logs he has instead of fingers on any regular trigger), excellent physique and his one and only acting invention of “half-closed eyes" for expressing sadness in scenes where he isn’t allowed to kill anybody. An A-grade brutal B-movie with a rejuvenated testosterone-pumped mastodon with all the trimmings. And if you don’t like that, then, in Rambo’s words: Go home. This makes the fourth Rambo the second best in the series. Who would have believed that about two years ago? --- P.S.: Thank you for the strangely missing episode number which made the Hardened Viewer festival at the Aero movie theater in Prague even more fun than expected. (19.02.2008)

It is evident that Rambo's pump is working for now, he doesn't need a cardiologist and he’s aging with his own grace, i.e. he doesn't argue with it in any way and takes it with gusto. The problem is that from the second episode it follows the same routine (with minor nuances): somewhere something has gone wrong, Rambo is asked for help, he flinches for a while, but then in a fit of altruism he gives in and a liberating, uncompromising fight ensues until the closing credits. Obviously it would be naive to expect anything else from him, but for me, the same tea, brewed for the third time, just doesn't taste as it should. That something is a "total carnage" and "slaughter" is no measure of the quality of a film, although I admit that the rawness, filthiness and to some extent realism of the action is probably unparalleled in the current cinematic mainstream. In fact, if I wanted to make a comparison, Rambo's final "heavy machine gun sermon" looks like a short sequence from Saving Private Ryan (the moment when the landing boat opens up on Omaha Beach and the soldiers inside are under machine gun fire), except that here it is stretched out to about 10 minutes, with all clean gunshots and falling body parts, which gives it a surreal dimension that cannot be taken seriously. For lovers of brutal action sequences, this must be nirvana. PS: If this film pissed off the real Burmese despotic junta, I'd give it 10 stars. (01.03.2008)