Make no bones about it, this film is TERRIBLE. Everything about the making and production of this film has been shockingly misjudged.For the first 30 minutes of this Boll tries to make you fell empathy for the character's bleak situation for what lies ahead, but instead it just irritates you as the characters are all paper-thin and the dialogue is terrible. As the film progresses it becomes more and more silly, and is riddled with historical and tactical inaccuracies, which really make you think he should have read a bit more into the background of the actual tunnel rat units in Vietnam. At some point it almost borders on insult towards Americans in its ridiculous and unsentimental portrayal of its fighting men.If like me, you watched this film hoping for insight into this fascinating aspect of fighting in the Vietnam war, I suggest instead you read Mangold & Penycate's Tunnels of CuChi, its what Boll should have done.

Prolific German director Uwe Boll has become something of a spittoon for film-going audiences with his much-hated video game-based action and horror movies, such as House of the Dead (2003), Alone in the Dark (2005) and BloodRayne (2005). While the aforementioned movies range from atrocious to just below passable, his later non-game based films have earned some more positive comments too. I was skeptical about his Vietnam War tale Tunnel Rats when popping the DVD in the player last night, but in the end the atmospheric film proved out to be fairly enjoyable.The story is set in 1968 Vietnam where a platoon of American soldiers is clearing the underground tunnels that the Vietnamese troops use in their stealth missions and connections. The dark, narrow and frequently booby-trapped tunnels are anything but safe, but when a massive Viet Cong attack begins, life above the ground is just as cheap and bodies start piling up quicker than can be counted.Unlike many mindless actioners, Tunnel Rats begins rather slowly; the first third of the runtime is spent on getting to know the soldiers as they pass time during the day and night before their tunnel mission begins the next day. The hardened veterans and enthusiastic or frightened rookies don't feel particularly memorable or unique compared to other war movies, but some characters are at least somewhat worth caring about, such as Privates Verano and Porterson (Rocky Marquette and Garikayi Mutambirwa). However, I don't think the charm of the film is really in character drama anyway (indeed, according to Boll there was no script and the actors improvised their lines); the story works much more effectively once the action gets going because it manages to not feel like a generic carbon-copy of the Rambo series like I was worried it would.The claustrophobic tunnels are lit extremely scarcely with yellow hand-held lights that make the underground scenes feel very atmospheric even if (or because) it is sometimes difficult to see what exactly is happening on the screen. The cinematography in the scenes above the ground has a faded, washed-out look that makes the green jungle appear all the more miserable a place. Besides the visuals, the subdued score by Jessica de Rooij also supports the mood well, beginning as little more than a compilation of ominous tones but ultimately turning into a pleasantly low-key accompaniment for the battles that could have easily felt overtly banal with more bombastic music.The best scenes are saved for the last: the agonizing, nightmarish crawls through collapsing tunnels, the encounter with a frightened Vietnamese family hiding underground and the explosion-heavy fights in the Army base are all fairly suspenseful and done in a less cartoony way than could be expected judging from Boll's earlier efforts (that is not to say Tunnel Rats wouldn't present a fair share of gory violence though). The downbeat ending is left somewhat open but makes its point clear in an enjoyably laconic way.Although Tunnel Rats is not quite a masterpiece, it is a fairly well made war film and would surely have a higher user rating if Boll's name was not attached to it. Were the characters more memorable, the movie could have been even better, but I dare to recommend it to fans of the genre even as it is now. All in all, perhaps grudgingly it must be acknowledged that Uwe Boll actually can make a good film, even if a lot of people would prefer him to remain an easy target for mockery and sarcasm.

Uwe Boll, what's with you making good movies all of a sudden? Perhaps Postal got him out of the stupor of churning out celluloid crap-shoots and now, more or less in his career, he's actually trying. This doesn't mean he's always a filmmaker that people should rush out to see. There's a reason, for example, that he won't have a movie play in theaters again the way he had with his video-game bullshit in the mainstream. But under the radar, he's able to do a little more than before, with a little ambition going a ways in a B-movie set up. Tunnel Rats is such a B-movie that there aren't any really recognizable actors (not even the somewhat recognizable star of Rampage). In that sense it reminds one of those old-school war movies of the 50's and 60's (Merill's Marauder's anyone) where the lack of recognizable faces lends further authenticity to the situations.There isn't really a firm plot for the film, but this is not too much of a problem. What's basic to lay out is that there are a lot of intricate tunnels under the surface in Vietnam, and they've been dug by the Vietcong as their own kind of maze. We get to know the characters, more or less, though to keep track of names might be fruitless; we know these people more by type or by personality (one very pleasant touch is that one of the real walking clichés in war movies- the guy who prattles on and just can't wait to get home to his mama or wife or whatever- not only doesn't get slaughtered the first chance it should happen, but he becomes a momentary bad-ass in hand-to-hand combat right in the s*** of things.The lack of characterization could be a much bigger flaw to contend with if it were a firm character piece. But aside from some early getting- to-know-you chit-chat (and one other cliché, describing what it was like back home, is a little more intolerable), when the troops start to move out and go into the tunnels, it becomes a non-stop action film. And as part of Boll's ambition to twist the much done Vietnam-War film - a particular kind of war film sub-genre in some respects - most of the runtime is spent underground as the Americans and the Vietcong square off, in the dark, sometimes not knowing who is going to come upon the other. For two points of reference, think of the opening sequence of Casualties of War, only extended to the claustrophobic, horror film extremes of The Descent (albeit Boll is not as strong or inventive a filmmaker as De Palma or Marshall, save for the touches of claustrophobia and the ultra-grisly violence). Boll doesn't turn away from the more gruesome bits, and we shouldn't either. We're in combat that is massive, all over the place, super- bloody, and it works to ratchet up the tension. We are also given a little of the "other" side, which is just as primitive in their reaction to the US and the US is to them (the "three of them raped a woman, I must kill them all" line is all we get for rationale, whatever). But in an odd way a woman with two kids ends up getting some complexity, if only towards the end during a very intense scene where she's confronted by another US soldier during a bombing raid. Boll could bleed (no pun intended) this over into melodrama, but doesn't too much. If he's guilty of things it's lack of characterization and a very strong story, which should be big cinematic crimes. However, he also has a fantastic sense of pacing action, knows well where to put the camera, and gives some of the soldiers a chance to shine on screen. When it keeps its focus narrow and strong, it's something of a triumph... and then one has to remember it's Uwe Boll. Once again, who knew?

If you're looking for an intricate plot, look elsewhere. If you're looking for feel-good, shoot-em-up action, look elsewhere. If you're looking for the latest sugar-pill rom-com with Sandra Bullock, why are you even reading this? In Uwe Boll's stunning "Tunnel Rats," the increasingly interesting (but still no less maligned) German director has made what essentially amounts to a chronicle of the madness of war told in a confined, claustrophobic, and frighteningly intimate way. The concept and plot (a platoon of American soldiers uncovering underground tunnels built by the Viet Cong to stage ambushes) are one and the same; and the metaphors paralleling confined spaces to the erosion of sanity are strong--hysteria is very viscerally believable here. While the character introductions and subsequent dialogs may strike notes of familiarity to the seasoned connoisseur of cinematic warfare, it's the unfamiliarity of the cast (with Boll regular Michael Pare being the only 'name' actor present) that makes it all stick; the lack of name actors only heightens the suspense, especially after they've earned our sympathy. To see these young men trapped in confined, booby-trapped spaces (with nothing but a revolver and a flashlight) is the stuff of nightmares, even more so than "The Descent" a few years back. The film maintains a bleak, free-form nihilism throughout, its plot (much like the war it's invoking) a jagged sequence of events rather than a simple matter of connect-the-dots conflict resolution. Tough, hypnotic, and refreshingly free of contrived stylistic symbolism, "Tunnel Rats" could very well be Uwe Boll's masterpiece.7.5 out of 10