Rarely for a decade was just as closely linked to the film genre in pop culture as 1980s are on funny action movies. The era of Sylvester Stallone, Arnold Schwarzenegger and others of their lane certainly fit well in the 90's, but the 80s is where the great, beef, sweaty, machine gun, hero became the main cinema. Of course, as with every genre, there were better and worse attempts to hit the mark with this particular brand of action film. The headlines such as "Terminator" and "First Blood" gave their respective muscle stars, avoiding the camp and absurdity of high-concept science and the heinous drama of political character, respectively. But then there were less artistically sophisticated film-characteristics such as Schwarzenegger's "Commando" and Stallone's "Cobra", which came out in 1985 and 1986.

"Cobra", in particular, has become a cult classic, largely because of his cartoon protagonist. In the film, Stallone is played by Lieutenant Colonel Marion Cobra Kobrets, a member of the Los Angeles Police Department, which carries aviators, chewing dreamers, driving a beautiful alive since 1950 since 1950, and reduces left pizza with scissors. The film is more "dirty Harry" than Rambo, and according to Stallone, he is the one he doesn't look for too much.

"Cobra" for me, was half -baked, "Stallone admitted during a conversation at the Toronto International Film Festival in 2023 (through Joblo). "I could have done better, but I didn't concentrate enough."

Stallone does not only act in "Cobra"; He wrote the script, as he did when he broke out on the Hollywood scene with Rocky. Before Eddie Murphy was thrown to "Beverly Hills Police", The studio was in discussions with Stallone about the section, but it ended up significantly processing the script to make it less than comedy and more than a thriller for action. That version of the film was rejected, but Stallone continued to expose the premise until the script that became "cobra".

While the film obviously has his creative fingerprints, Stallone seems to be more successful if he were even more involved in doing so, leading the sight from his page to the screen. "I felt like it was something I had to direct, and I didn't do it, and I sorry for it," he explained during the aforementioned Tiff Talkback. "It's one thing for making movies, aside from watching your hair to pull, you go," God, why didn't I try harder? "

Cobra was missed by critics and received six nominations for the 1987 Razi Award, including the worst image and the worst acting nod for Stallone. Today, it certainly is not considered one of The best movies of Stallonebut also managed to stick to pop culture for one reason or another. Fans of the genre are still appreciated by his absurdity, and even cited director Nicolas Viking Refn and Starvala Ryan Gosling as an inspiration for their critically recognized drive thriller in 2011.

Cobra's prolonged popularity in certain circles seems to suggest that there is merits out of what critics and stalon think about the film. But is that true? Or, have a few permanent aesthetics and some nonsense just stored the film in good grace for fans? Zingers as "You are a disease and I am a cure" or "This is where the law stops and I start" are fun in their boldness, although they are also practically plagiarized by the "dirty Harry". Is that enough to save this lighter shareholder whose conspiracy can I still tell you after multiple redirects?

Probably, Cobra's camp factor is what keeps it a little in culture decades later. In 2019, it was announced that Robert Rodriguez was working on restarting TV -Show "Koba"Although that project seems to have gone quietly. Rodriguez's self-conscious style and E-Eection to Greenhaus, B-movie styles look well suited for Cobra, as irony has always been a big part of why people love the original film so much.

What is harder to oppose today is the brand of the film in the 1980s of the heroism of police brutality. Like many of his contemporaries in the policeman's genre, Cobra has a sadistic, cult kind of gangster villain who is so pure evil that they lose any kind of criminals in the real world. This monstrous figure, which is poorly defined in the film itself, is used as a justification for Cobra to use its brand of smooth violence in response, dismissing in the process. That is to say, if there is a huge problem with "cobra", then it is a problem with the genre in Lere. And yet, the pure absurdity of the film may be the reason why it is sustained when other previous, more ground attempts to make the same kind of film faded.