Last Blood is suggestive of the fact that the era of this formidable action hero is over finally after the release of the 5th title. And there really is the limit, one should not put it down as a failure. The 73-year old action hero couldn’t do much more than he did for you guys.

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John Rambo finally retires to his remote ranch and keeps himself busy training mustangs. Most of the time he is seen eating pancakes in the breakfast. Considering the action, it doesn’t really manage to impress this time and but the counter-argument could be, what else could you anticipate from Sylvester Stallone considering his age.

Rambo at a Glance from the First Blood to the Last Blood

1982, First Blood featured John Rambo, went through traumatic turmoil in Vietnam. The release was a major hit and people loved the odd-accent of the angry young Sly Stallone. 1985, the 2nd part of the First Blood saw Rambo out of the prison only to return to Vietnam looking to hunt down the American POWs.

This was arguably the most politically motivated theme. Rambo is there to teach the POWs a lesson who, according to the script, slaughtered Vietnamese as well as Soviets to appease the myth propagated by the American Right-Wing.

Just like a sporting event returns after a few years, World Cup, for instance, Rambo once more returned after 3 years gap. Rambo III (1988) depicted Afghanistan in an attempt to rescue his mentor who served the Soviet prison.

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Then there was a long gap of exactly two decades. Nobody expected Rambo to make a comeback but he did in 2008. Rambo (2008) aka Rambo 4 return to hit hard on Burmese warlord. The objective in this part was to fee missionaries. For one more decade, Rambo was put to rest but it seems as if Stallone wanted to give it a final go. It just feels like the return of the Undertaker to WWE whenever fans start to think that the Dead Man is now too old to on the challenge.

The script of Rambo: Last Blood is the combined effort of Stallone and Grunberg. The co-writer is also the director of the movie. This is by no means a rescue mission nor is there a political ideology to negate. Rambo seems lost here, he is not even fighting for his country. He doesn’t even seem to demonstrate any hint of patriotism. This release makes us believe that Rambo is spilling blood just because it pleases him or there is some personal motive. Rambo once uttered that once you are pushed into it, killing becomes as easy as breathing. Perhaps the Last Blood proves him right.

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America went through a lot of things from the late 70s to 2005. There was enough to depict in an action movie. But these days, things are moving more towards peacemaking and it is good to realize. Perhaps this is the reason why Rambo: Last Blood lost its track. Yes, there are revels and Rambo favors them against the genocidal regime but this time he doesn’t seem as American-centric as he used to be.

Rambo: Last Blood – The Plot

As simple as it could be – the plot features Rambo’s granddaughter, a teenager named Gabrielle. Though Uncle John tries to contain her Gabrielle decides to enter Mexico to find his father who abandoned the family after abusing Gabrielle’s mother. But she finds herself kidnapped, drugged, and then pushed into sexual slavery which is worse than prostitution.

Yvette Monreal Rambo Last Blood

Rambo makes the first attempt but fails and it encourages the pimps to treat Gabrielle in an even harsh manner. The second attempt was successful but Gabrielle is too sick to return back alive. The rest of the plot features killing becoming a hobby and the enemies keep getting killed one by one. In one scene, Rambo pulls out the still-beating heart of the victim to show him while he is still alive.

Is there a political message in Rambo: Last Blood?

The decision of the Mexican Wall from Trump administration might well be the motivation here but it isn’t significantly depicted in this plot. It doesn’t go beyond the armed pimps. The heavy-weights of the drug mafia are not even touched.

What is Rambo: Last Blood All About?

Perhaps the script cared more about crafting ways of torturous killings. In one scene, Rambo digs his thumb, into the shoulder of his victim, with such a force that it peels the clavicle up out and then there is a snap. He detaches the head of a victim and tosses it as he drives the vehicle.

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He cuts off feet, impales his victims on spikes, and rams spears through heads, slashes the skulls, and tears up the bodies giving way to the bloodstream, and nails his victims against the arrows along the wall. Well, this is all about Rambo: Last Blood. The demonstration of absolute rough killing in an as torturous manner as the special effects could depict.

The Boys is a brand-new superhero drama on Amazon. It is dark and gritty, and ultraviolent. It’s difficult to reject that we live in an age controlled by the superhero. That traditional Superman chestnut, “Look up in the sky!”, feels as apropos as ever when you can’t drive down a significant roadway without seeing posters for the latest Marvel or DC franchise like Avengers or Wonder Woman. They rule the box office and they rule the popular culture conversation.

Adapted by Seth Rogen, Evan Goldberg, and Eric Kripke from the Dynamite comic series by writer Garth Ennis and Darick Robertson, the eight-episode Amazon series has a wickedly sharp eye for what a real contemporary age of superheroes would look like. Costumed vigilantes include an army of press agents to craft public apologies. Significant media corporations set up the crime-stopping “team-ups” that would drive the optimal quantity of social media engagement.

Superheroes are such familiar territory, such an overdetermined premise, that this program’s appeal (or lack thereof) might well feel already decided for many audiences. In Between The Dark Knight, Jessica Jones, Watchmen, Daredevil, and more, a show that asks the concern “What if superheroes … were bad?” does not have the revolutionary edge it used to. The Boys takes the idea of a world where superheroes are real and follow it to the logical extension of superheroes who are human.

Troubled and disillusioned, Hughie is an ideal recruit for Butcher, who employs the sad lad in a scheme to reduce all of The Seven and their ominous benefactors Vought International. That’s not all that is happening as Starlight and her story is just as engaging.

Starlight (Erin Moriarty) is overwhelmed by the experience of walking into the 7’s stunning headquarters, awed by the grandiosity of it all. Her awe changes to disillusionment when the Deep (Chace Crawford), unzips his pants and makes clear that Starlight is anticipated to perform actions in addition to saving people from burning structures.

In the comics, Annie’s degradation was treated as a paradoxical joke, but the show treats her experience as something heartbreaking, which changes this story and includes real stakes to the show’s master narrative. Superheroes are revolting is the bottom line there.

The two plots link, and soon a grand conspiracy emerges surrounding the strange super-steroid “Compound V” that might totally ruin the superhero genre and the mega-corporation that funds it, Vought.

The Boys runs on a couple of different levels, all of which the creative group nails on one level or another. It’s your timeless gettin’-the-band-back-together story, as the Substance V conspiracy, convinces Butcher to track down the rest of the retired boys, who are ultimately joined by the hyper-violent killing machine called The Female (Karen Fukuhara). It’s likewise a pretty dang appealing mystery tale dressed up in tights and capes, in addition to a pitch-black comedy filled with enough flying guts, blowing up dolphins, and C-4 pushed into a person’s unholy crevices to keep even the sickest of you young puppies squirming.

The “Boys” are a group determined to showcase the beloved superheroes for the corrupt and criminal sociopaths that they are. Like the heroes themselves, who are obvious knockoffs of iconic characters like Superman and Aquaman, the boys are also a familiar trope, a ragtag lot of underdogs attempting to remove the most powerful forces in the world.

If that were all The Boys needed to say, if its only goal were to develop a familiar superhero world and after that squeeze, it into pulp the show’s range and appeal would be quite limited. The minute I realized the show may be doing something else, something more fascinating, beneath its glossy finishing of thick physical fluids, comes fairly early in the very first episode.

The 7 are relaxing their huge boardroom, going through a rundown of their recent experiences and top concerns, and a hero called Translucent (Alex Hassell) disrupts the meeting with a topic of fantastic concern: copyright violation. Pirates are distributing his film unlawfully, people are offering unlicensed superhero product, and Translucent wishes to know what they’re doing to stop the considerable drain on his bottom line. “We’ve all got, what, four points?” he asks, sparking a squabble amongst the 7 about their different profit-sharing offers.

If the Boys are extralegal Robin Hood figures and the Seven are the amoral, overpowered assholes of its universe, the organizing frame of this negative worldview is Vought, a tremendous worldwide corporation that manages all the world’s biggest superheroes. Vought doesn’t just keep them in line and organize their activities. It markets them, promotes and licenses their images, styles their fights, orchestrates their triumphs, runs their press appearances, and sells and trades them to various metropolitan centers like sports stars being traded amongst groups.

The secret to Vought, and to the wellspring of thoughtful acerbity pumping through The Boys’ veins, is Madelyn Stillwell (Elisabeth Shue), its vice-president and suggest mommy-figure-in-chief. There are a number of standouts in The Boys– Chace Crawford is unnervingly credible as the sleazy, dickish the Deep, for instance– however, Shue’s Stillwell is among the best of them. She is smooth and mindful, polished corporate smoothness with an utterly hollow space where an ethical center should be.

The Boys thinks of a world where fantasy characters with superhuman powers exist and are primarily villains. However, the program’s finest idea is its ultimate villain: The ceaseless working giant of corporate industrialism and the people who enable it. Those lawbreakers are all too genuine, which is precisely The Boys’ point. The Boys, the program, is at its finest when it sidelines all the things that made the comic so remarkable, and simply focuses on the characters.

If there’s a complaint to be had about The Boys, it’s that its first eight-episode run ends awkwardly, right in the middle of the story with numerous loose threads dangling and a few key characters left forgotten in the home stretch. The roller-coaster flight to that abrupt end is something you need to experience. Like Alan Moore’s Watchmen in the late-80s, The Boys has the chance to be the superhero deconstruction of our time. Less a peek behind the curtain, and more a seedy look behind the social networks likes and box office numbers, a story that handles to be heartbreakingly relevant while still discovering time to have Karl Urban kill a bunch of thugs with a super-powered baby – you really need to see it to understand what I mean!

Oh, there’s still plenty of the magnificent violence, profane wit and transgressive imagery that’s Ennis’s hallmark: people are soaked in blood and viscera on the routine, superheroes are exposed practically immediately as perverts, drug fiends and/or sociopaths, and Karl Urban drops more F-bombs and C-words per minute as swaggering antihero Billy Butcher, who’s made it his objective to lower the elite, corporate-backed league of justicers called The Seven by any means required.

And while that was the heart of the book, it’s not the heart of the show. The Boys shot in Toronto and overseen by veteran author and producer Eric Kripke (Supernatural, Classic), premises its outsized action in Hughie’s psychological journey … and while that sounds a little sappy, it actually works.

From Gangs of Wasseypur (2012) to Mirzapur it has been a journey into ever intensifying violence accompanied by an ever-increasing frequency of abusive language. This is what the world seems to like about the ever-shifting Indian cinema that is paying attention to highly intensifying form of the butchery of the human skin.  

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The success of Gangs of Wasseypur I brought the Indian mafia back on stage and the Gangs of Wasseypur II brought to highlight the previously lesser-known actors including Nawazuddin Siddiqui. In addition, one particular name made his fortune by playing Sultan Pankaj Tripathi. Mirzapur is a season comprising of 9 episode that contributed a lot to the popularity of Amazon Prime. Pankaj Tripathi’s exceptional talent keeps the drama alive and I’d say that it is his inspirational acting that pushes the flaws in the dark corners. The plot itself is weak in the sense that there seems no moral authority to balance against the evil world of Mirzapur.

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Only one character, Ramakant Pandit, a lawyer decides to stay firm against the evil forces but he is side-lined after his sons accept the Mafia Don’s offer to join him.

Mirzapur Seasons 2 Story – Here is what will happen in Mirzapur 2

Despite the fact that there is nothing inspiring in terms of morality and that the whole drama seems to highlight violence, vulgarity, and public abuse, viewers are eagerly waiting for the second season.

Mirzapur Season 2 is Coming Soon

Yes, it is true that the shooting of Mirzapur Season 2 is complete and it is the process of editing and cinematic effects. The exact date of release still remains a secret. Fan have already started speculating about the story of Mirzapur season 2. Well, one thing is certain, keeping in mind the end of the last season, that Guddu Pandit will get his chance to F*** Mirzapur in the next season in his quest to revenge his brother’s (Bablu Pandit) murder.

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Munna Tripathi is shown struggling to find a way out in the middle of fire-arm action. Lala will definitely chase Munna Tripathi to revenge the murder of his expected son-in-law. And on the other hand, Ratti Shankar Shukla’s son is committed to rule over Mirzapur. Season 2 of Mirzapur is going to feature more complex rivalry and it seems as if the days of Tripathi dynasty are counted. Obviously, Kaleen’s second wife will find a way to murder Kaleen’s father and she has to if she wants to meet her objectives.

Mirzapur Season 2 Official Trailer

Unfortunately, the official trailer of Mirzapur Season 2 is still in the waiting list. We can anticipate it somewhere around mid-October but we can’t confirm anything at the moment. I just want to see a more meaningful plot this time and hence after if more seasons are in the pipeline. Ideally, I’d like to see Mirzapur changing with time and becoming more civilized. At the moment, at least in Mirzapur season 2, there will be more violence and abuse on display.

True Story of Mirzapur?

Whenever an Indian depiction of the Underworld features the screen, people start attributing the qualities of the character and plots to real-life events. It is true in the case of a few Indian movies. I know how Indians feel when it comes to the Dons such as Dawood Ibrahim, Karim Lala, and Mastaan Mirza. But things have changed in reality. Indians basically love fanaticizing for a particular reason. Basically, most of the underworld in India was and is controlled by Muslims. The reason is that Pathaans and other Muslim clans are far more brave, daring, and somewhat dangerous and they are the ones who kept their activities going even during the British Rule.

Gangs of Wasseypur depicts Muslim characters and most of the story is based on true events (only the original names have been changed). But Mirzapur is complete fiction. It is the depiction of how the Hindus in India fantasize the underworld because they don’t have balls to live such a life even for one hour. And this is the reason why Mirzapur has become a huge success even though it is nothing but violence, immorality, and abuse. On top of that, this time the writers have depicted Hindus as the Mafia Dons. Mirzapur, the real place, is named after a Muslim. There had been illegal activities in the past by today, it is the city of the third safest place in India with a lower crime rate as compared to other Indian cities.

Mirzapur Shows the Mindset

Well, I have no doubt about the fact that Mirzapur 2 is going to increase the level of physical torture, demonstration of adultery, and the use of even more vulgarity. The thing here is, the response to Mirzapur season 1 shows how the public in India fantasizes the underworld. This is something disturbing. I mean, none of these characters shows morality at any level. Even the good characters suddenly turn into an animal under human skin as if they had a dream to become such ruthless individuals. It is also having a negative impact on the young generation. Kids have now started to use the same vulgar language in their private conversations. They frequently repeat Guddu pandit’s dialogue ‘Mirzapur ki G*** Phar K Rakh Dain Gy’ – (Will A** F*** the City of Mirzapur).

If this is what they intend to teach the young generation, it really is their choice but I am not impressed at all!