Rambo, featuring Arulnithi and Tanya Ravichandran, attempts to blend multiple genres—sports drama, social message thriller, romance, and action—but ultimately results in a disjointed narrative lacking emotional resonance and clarity. Promoted as a gritty story centered around kickboxing, the film falters due to poor writing, illogical scenarios, and weak character development. The plot follows Rambo, a street-fighting kickboxer, who encounters Malar, a woman fleeing from Gautham, the heir to a powerful educational dynasty. Malar is a crucial witness in a crime that could potentially imprison Gautham. This premise had the potential for a gripping action thriller; however, the execution is so absurd that one abandons any hope for logic within the first fifteen minutes.
From a wealthy industrialist scheming to murder a child merely because his son ranked second in class, to criminals casually discussing ransom amounts as though they were bargaining for groceries, Rambo is constructed on a script that underestimates the audience’s intelligence. At one point, even the protagonist questions how both the hero and villain appear to possess unlimited wealth—an unintentional jab at the filmmakers. Although kickboxing is presented as Rambo’s identity, the sport becomes irrelevant in critical scenes. Instead of showcasing his self-defense skills realistically, the film resorts to exaggerated slow-motion stunts, dramatic jump cuts, and implausible punches reminiscent of outdated mass masala films. The villain lacks intimidation, the heroine lacks agency, and the hero lacks direction.
With poorly executed humor, cringe-inducing dialogue, and no emotional engagement, Rambo fails to deliver on both its action and narrative intent. It stands as a forgettable and flawed attempt at action storytelling.