The latest chapter in Sylvester Stallone’s nearly 40-year-old franchise, Rambo: Last Blood, is under attack by woke critics as “racist” and “problematic.”
Apparently, the mistake Stallone made was making a movie that dares to reflect real life, which is something movies are only supposed to do when the villains are white, Christian males, preferably from the Deep South or a country with a name that ends with “vakia.”
But no, Stallone decided instead to reflect a real life crisis involving Mexican drug cartels, which means Mexicans are the bad guys.
These censorious scolds are tedious and exhausting, but also revealing. They are angry over a movie that explores a very real problem, a movie that asks us to pay attention to the sex slavery that is happening along our own border, and their only argument for this censorship is “racist!”
Emphasis is mine throughout:
Variety:
Granted, I haven’t seen the movie yet, and won’t until tonight, but according to even the most hateful reviews, this Variety review is a lie. How can the movie have a “racist view of Mexicans” when the victim, Rambo’s niece, is herself Mexican and so is the journalist who becomes Rambo’s ally?
See what I mean? These entitled reviewers are so angry a major movie is pointing to a real life problem they find inconvenient to their own personal political agendas, that they not only trash it, they lie about it.
IndieWire:
In a sane world where people actually wanted to stop sex-trafficking, , Rambo V would be lauded for “raising awareness” about the horrors of Mexican cartels and sex slavery. But when raising that kind of awareness interferes with the left’s goal of flooding the country with illegal Democrats to turn Texas blue — can’t have that.
UPROXX:
But this same UPROXX loved Hustlers, where the “heroines” drug unsuspecting men whose only sin is being willing to pay a lot of money to enjoy some female company. No deranged minds at work there!
IGN:
Harrumph. Harrumph. Harrumph.
How can you attack a franchise as racist when, in its opening chapter, Rambo kicked the crap out of David Caruso, who I believe is the whitest man alive.
In First Blood, John Rambo destroyed a predominantly white sheriff’s office in a predominantly white small town, and in Rambo III, he sided with the Mujahideen(!!) against the Russians.
The whole point of the Rambo series is to reflect real life, is to rip an idea from the headlines and do what movies are supposed to do: raise awareness through wish-fulfillment.
First Blood (1982) is basically a 70’s movie about our forgotten Vietnam Vets. Rambo: First Blood Part II (1985) is about America’s lingering angst for those missing in action after losing the war in Vietnam. Rambo III (1988) is all about winning the Cold War. Rambo (2008) tackles a real-world problem in Burma.
This is what Stallone does, this is what John Rambo is all about, and whether critics like it or not — they sure hated Jennifer Garner’s Peppermint, which pitted an Angel Mom against MS-13 — our open border, the horrific gangs that thrive along it, and the drugs and human misery these monsters traffic in, is a timely, vital, moral, and necessary topic for a movie to explore, even an R-rated genre movie.
These fascist critics only want movies that hit their political sweet spots, which is pathetic enough, but they never state their case beyond name calling. Is “racist” all you got?
How about making a social justice case as to why sex trafficking by Mexican cartels should be ignored by Hollywood.
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That’s what I thought.
Follow John Nolte on Twitter @NolteNC. Follow his Facebook Page here.