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The Oxford Handbook of Behavioral Emergencies and Crises
Book
The Oxford Handbook of Behavioral Emergencies and Crises includes the most up-to-date and valuable...
Rough Diamonds
Book
When Helen disappears after a violent domestic episode and Jim, her abusive alcoholic husband, is...
Yakuza Moon: The True Story of a Gangster's Daughter
8.3
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Book
This heartbreaking and informative account of the memories of a woman at the heart of Japanese...
David McK (3372 KP) rated Rambo: Last Blood (2019) in Movies
May 8, 2022
If you asked anyone to name actor Sylvester Stallone's two most famous roles, they would probably give you (in order):
1: Rocky Balboa
2: John Rambo.
While the Rocky films have been having something of a renaissance of sorts ever since 2006's Rocky Balboa (and the Creed films), Rambo has been left on the sidelines somewhat - perhaps as a result of the increasingly cartoony (and violent) films ever since the 1982 original.
I haven't seen all the Rocky films - I gave up partway through Rocky III, before having to force myself to sit through Rocky Balboa and the first Creed film - but I have seen all the Rambo films.
There's still no doubt that the original Rambo film is far and away the best: indeed, I would strugglt to remember much of the plots of part II (other than there's a fight scene heavily ripped off in Charlie Sheen's 'Hot Shots: Part Deux'), or even part III (starting with Rambo helping to build a temple in Vietnam) or 2008's 'Rambo' (which ends with Rambo coming home as the credits roll)
This one picks up from the end of that film, with Rambo now running the horse ranch that belonged to his family, and with the plot kicking into drive when the daughter of a friend runs away to Mexico in search of her absentee father, and is promptly kidnapped by a Mexican drug cartel.
Cue an extraordinarily violent last act when, for reasons, members of that cartel decide to attack Rambo on his home turf ...
1: Rocky Balboa
2: John Rambo.
While the Rocky films have been having something of a renaissance of sorts ever since 2006's Rocky Balboa (and the Creed films), Rambo has been left on the sidelines somewhat - perhaps as a result of the increasingly cartoony (and violent) films ever since the 1982 original.
I haven't seen all the Rocky films - I gave up partway through Rocky III, before having to force myself to sit through Rocky Balboa and the first Creed film - but I have seen all the Rambo films.
There's still no doubt that the original Rambo film is far and away the best: indeed, I would strugglt to remember much of the plots of part II (other than there's a fight scene heavily ripped off in Charlie Sheen's 'Hot Shots: Part Deux'), or even part III (starting with Rambo helping to build a temple in Vietnam) or 2008's 'Rambo' (which ends with Rambo coming home as the credits roll)
This one picks up from the end of that film, with Rambo now running the horse ranch that belonged to his family, and with the plot kicking into drive when the daughter of a friend runs away to Mexico in search of her absentee father, and is promptly kidnapped by a Mexican drug cartel.
Cue an extraordinarily violent last act when, for reasons, members of that cartel decide to attack Rambo on his home turf ...
Awix (3310 KP) rated A Clockwork Orange (1971) in Movies
Apr 7, 2019 (Updated Apr 7, 2019)
Kubrick's provocative examination of violence and morality. Young offender Alex (McDowell) leads a carefree life of theft, assault, and rape, until his actions catch up with him and he is sent to prison. There he volunteers for a new therapy which is supposed to remove his capacity for violent wrongdoing...
A massively iconic, much-imitated film, despite being taken out of circulation (in the UK at least) by the director for thirty years. The film's musings on the nature of moral agency are less striking than its baleful, scathing criticism of social attitudes towards crime and punishment, and the extraordinarily vivid opening and still difficult-to-watch opening sequence. A grotesque morality play with many coups de cinema; an extraordinary film by any standard.
A massively iconic, much-imitated film, despite being taken out of circulation (in the UK at least) by the director for thirty years. The film's musings on the nature of moral agency are less striking than its baleful, scathing criticism of social attitudes towards crime and punishment, and the extraordinarily vivid opening and still difficult-to-watch opening sequence. A grotesque morality play with many coups de cinema; an extraordinary film by any standard.