In the realm of action cinema, few names resonate as powerfully as John Rambo. This film throws viewers headfirst into a relentless barrage of memorable, cinematic moments, punctuated by intense carnage and masterful editing. Clocking in at just over 90 minutes in its extended cut, the movie wastes no time. Even the initial scenes, seemingly serene with their “Apocalypse Now”-esque river journey, serve to draw us into a deeper, more primal space, mirroring the characters’ descent into a literal hell on earth. The film establishes a stark reality: “Nothing does change. It’s what is.”
Having revisited this installment after experiencing the initial trilogy, it becomes clear how effectively this film elevates John Rambo to mythical status. This mythologization is partly achieved through the eyes of School Boy, whose reverence for Rambo provides a compelling contrast to the dynamic within the ensemble cast. The movie also reconnects with the poignant human core established in the first film, “First Blood.” Moments like the rain-soaked dialogue and the symbolic shot of Rambo’s knife sinking with a boat – representing the unending struggle of a PTSD-stricken veteran burdened by his past – resonate deeply. Furthermore, the inclusion of the St. Francis prayer during a weapon-wielding montage adds layers of complexity. This prayer, filled with opposing ideas and contradictions, speaks to humility and forgiveness amidst brutality, philosophical questioning, and a direct appeal to divine guidance for navigating a chaotic world. It’s a profoundly fitting theme for John Rambo.
“Where there is darkness, light.” This line encapsulates the film’s thematic duality.
While not intellectually demanding, the film makes deliberate choices in setting mood and atmosphere. The peaceful river journey abruptly gives way to extreme brutality, a level of violence so unrestrained it dominates the final act. One might wonder if director Sylvester Stallone could have lingered longer in the initial mood, perhaps incorporating more stealth elements reminiscent of “First Blood.” However, given the impeccable pacing and the cathartic release of the film’s setup and explosive delivery, the film’s unapologetic prioritization of action over nuanced drama and suspense feels forgivable. In this sense, “Rambo” (2008) stands as a quintessential, stripped-down action film, a powerful culmination of John Rambo’s internal conflicts.
The antagonists might be archetypal and lacking depth, yet grounding them in the real-world Tatmadaw Burmese military, a known perpetrator of genocide, lends a disturbing weight to their villainy. Brian Tyler’s score expertly builds upon Jerry Goldsmith’s iconic themes from earlier films, modernizing them without losing their classic essence. “Battle Adagio” emerges as a particularly strong piece, effectively establishing a new theme for John Rambo. Visually, the CGI blood effects are noticeably weak and detract from the otherwise gritty realism. This might be attributed to the film’s independent production and comparatively lower budget, spearheaded by Stallone himself. Despite this visual shortcoming, Stallone’s dedication to the Rambo legacy and his fanbase is undeniable and commendable.
David Morrell, author of the original “First Blood” novel, has stated that this film is the closest in tone to his written character among all the adaptations. Personally, “Rambo” (2008) achieves a remarkable balance: it presents a sincere portrayal of an aging John Rambo while delivering the over-the-top action, brutality, and pure thrills that defined “Rambo II” and “Rambo III.” In fact, it could be argued that this installment is the apex of the entire Rambo film series.
