Come Out Fighting

There is a particular strain of low-budget war cinema that seeks to evoke the grandeur and grit of WWII without the financial or artistic muscle to support its ambition. The film in question attempts to embed itself within the tradition of microhistorical WWII narratives-focusing on underrepresented aspects of the war effort, particularly the contributions of African American tank crews. While the premise carries promise and historical relevance, nearly every technical and cinematic decision made here undermines what could have been a powerful entry in the genre.

From the outset, the visual language of the film struggles under the weight of incoherence. The cinematography, rather than constructing a sense of tactical geography or dramatic composition, resorts to overused shaky cam techniques that rarely enhance the immediacy of action and more often obscure the events on screen. The editing compounds this problem-disorienting cuts between unrelated shots, mismatched eyelines, and abrupt transitions fracture any narrative continuity. This approach denies the viewer any spatial orientation or emotional buildup, leaving battle sequences to feel more like chaotic montages than structured engagements. When compared to similarly budgeted works like Saints and Soldiers or Company of Heroes, both of which manage to deliver clear, disciplined action with coherent visual grammar, the shortcomings of this film are stark.

Technically, the production oscillates between anachronistic detail and cosmetic mimicry. Authentic WWII-era vehicles are present-Sherman tanks, German half-tracks, and even a Tiger-but their inclusion appears more as ornamental dressing than functional parts of the mise-en-scène. Battle choreography fails to utilize the assets meaningfully: tanks remain stationary during supposed combat sequences, artillery fire lacks any kinetic realism, and visual effects often resemble those from an early-2000s game engine. The ME-262 jet sequence, likely intended as a set piece, feels entirely disconnected from both realism and the surrounding narrative fabric, lacking context, buildup, or tactical logic.

The use of CGI is both excessive and ineffective. Muzzle flashes appear as floating overlays; explosions look as though they were copy-pasted from stock libraries without attention to lighting integration or scale. There is a distinct lack of interaction between actors and environment-the terrain is clean, uniforms remain inexplicably pristine even in the aftermath of shelling, and props show no wear that would convey battlefield exhaustion. Even wartime staples such as dirt, mud, and smoke are rendered with minimal effort or authenticity.

The sound design, far from immersing the viewer in the combat environment, often distracts. Gunfire is exaggerated and repetitive, lacking spatial realism or appropriate reverb, while musical cues aim for grandeur but feel overbearing and misplaced. Most egregiously, the audio mix buries dialogue beneath overzealous scoring and ambient noise, which only draws further attention to the weak writing.

Dialogue, when intelligible, is hampered by a script that veers between banal platitudes and awkward exposition. Characters speak in declarative clichés, often invoking patriotic slogans devoid of nuance or context. A misquotation of Patton's famous line serves as a particularly grating example-not just historically inaccurate, but emblematic of a broader disregard for textual fidelity and period tone. These script deficiencies rob the performers of any chance to ground their portrayals in believable human stakes.

The performances themselves are uneven. Some actors-particularly those in leading roles-attempt to salvage dignity from the material, with brief glimpses of internal struggle or emotional restraint. Tyrese Gibson and Michael Jai White do show signs of having envisioned more grounded portrayals, but the script consistently undermines them. Others deliver performances better suited to melodrama or parody, possibly due to a lack of directorial control or unclear tonal direction. There is no cohesion in performance style; scenes often feel like isolated rehearsals stitched together in post-production.

Where the film most blatantly falters is in its depiction of military tactics and behavior. Assaults are staged without regard for cover, line of sight, or coordination. Soldiers shout commands with no tactical awareness, flanking maneuvers are nonexistent, and critical concepts like suppressive fire or unit cohesion are ignored entirely. A supposed ambush unfolds with participants casually walking into open fire zones, lobbing grenades at implausible distances. These errors transcend budgetary limitation and signal a fundamental lack of research or consultation with military advisors. Even low-budget productions like Red Tails or Fury (though far larger in scale) demonstrate how accurate consulting can vastly enhance a film's tactical credibility.

While the film aspires to honor the 761st Tank Battalion-an invaluable and long-overlooked part of American military history-it stumbles over its own narrative missteps. The story gestures toward racial dynamics within the military, but does so with such cursory treatment that it feels more like a checkbox than a theme. Character interactions meant to highlight the racism endured by Black soldiers are rendered with such superficiality that their intended poignancy is lost in flat delivery and pedestrian direction.

What is perhaps most disappointing is that there are moments-fleeting, buried moments-where a more capable hand could have coaxed something affecting from this material. A lingering shot on a shell-shocked soldier, a whispered moment of doubt before battle, or a glimmer of camaraderie between tank crew members hint at what might have been achieved. Unfortunately, these moments are drowned out by the surrounding noise-both literal and cinematic.

In the end, this film serves as an unfortunate example of a missed opportunity: a worthy subject treated with insufficient craftsmanship. It attempts to join the lineage of WWII cinema that blends battlefield storytelling with overlooked historical perspectives, but its execution-marked by subpar visuals, disjointed narrative structure, poor technical control, and a lack of historical veracity-fails to meet even the modest standards set by its contemporaries. For those who seek films that evoke the true pathos, complexity, and intensity of the Second World War, this offering is likely to provoke only frustration.

How did this get made?

I wish I knew people that are okay seeing piles of their money set on fire.

They spent a lot of money on some things. Not terrible CGI dog fighting, physical US and German tanks moving around a battle field, hundreds of small arms, uniforms, and a half dozen B actors.

And spent zero dollars on other things, like writers, military advisors, directors, cinematographers, editors, etc...how?

Like when a truly gifted film maker gets his hands on a microscopic budget, they can make something compelling.

You give a child with zero self awareness a bucket of money, they have people throwing hand grenades at a mortar team 200 yards away. Or tanks that stop moving once they are fired upon.

Where were the adults?

I agree with this:

I'm not sure why and who keeps funding writer and director Steven Luke's war films, but he needs to take up a new hobby - maybe Laser Tag with some kids, so he can learn tactical engagement. This has to be one of the worst movies I have ever seen. Calling this a B film would be a compliment, but this barely classifies as a C film.

All there is, is a bunch of nonsense dialogue and horrible acting in war scenes that will make you pull a muscle from eyerolls and cringing. A five year old can set up more realistic warfare engagement battle scenes using little plastic green army men. In the first battle, they can't see an ambush out in the open, but are able to reach the ambush with hand grenades lol. And there's so much more laughable tactics and cheesy dialogue, this mess should've been labeled a comedy. If you think you've seen bad B films with Michael Jai White and Dolph Lundgren, this one takes the cake. They even convinced Tyrese Gibson to be in this, which I'm sure he's regretting now, especially when this came out the same as Fast X. It's a generous 1/10 from me, in pity for Gibson.

Complete nonsense. The tiger would shoot them all like a shooting range. The Germans fought well. Ambushing tanks with mortars and heavy machine guns and not hitting a single vehicle is ridiculous and counterattacking with rifles is complete nonsense.

It's a pity that I can not put 0 or even -1. The agenda steers to the detriment of realism. Directing - 0, cameraman - 0, script - -5.

If you want to see real combat actions - see "Rescue of Private Raivn". And call a detachment of sappers to clear the mines in a combat situation and stand upright on open terrain with the whole team .. what were you smoking there when you came up with this dregs,)))

The storyline is typical, 'rescue your commanding officer from behind enemy lines'. The acting for the most part was terrible. The use of CGI, special effects were abysmal. And they portrayed the Germans as very inept. If I didn't pay $6 to rent off Fandango I would have turned it off. I suppose the makers of this film rented the vehicles used from collectors or museums, none seemed destroyed during the fight scenes. Just sparks and puffs of smoke when impacted by bazookas or artillery. No field officers could read a map. It was a sadly made movie. I gave it 4 stars only because I like WWII movies.