Come Out Fighting

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?

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.

First of all, there is the basic premise: that there are two types of soldiers.

One type of soldier is always competent and effective. The other type is not only always bumbling and incompetent, but arrogant, nasty and mean-spirited to boot.

Then there is the glaring incorrect portrayals of military protocol and tactics.

In this film, officers routinely salute non-coms and hold the salute until the non-coms return it, not the other way round which is reality.

It depicts an Army without coordination of infantry, armor and artillery. In one scene, artillery and forward armor are both firing on the same position simultaneously while forward motorized infantry are engaging that target in close quarters battle. Insane.

And then there is the decision to have German characters speaking English with German accents. Reminded me of Inspector Clouseau in the Pink Panther series.

The acting is not terrible but the dialog is amateurish.

It is just an all around bad movie.

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.

First and foremost, it feels like this movie was directed and produced by a 4-year-old. With that in mind, be prepared for an agonizing cinematic experience that will leave you yearning for the sweet release of a ceasefire.

From the moment the opening credits roll, it becomes apparent that the filmmakers have absolutely no understanding of the art of war or the essence of a compelling narrative. If one can even call it that, the plot is a jumbled mess of clichés and nonsensical sequences that fail to form a coherent whole.

The characters are one-dimensional caricatures devoid of any depth or meaningful development. Their interactions are stilted and devoid of emotional resonance, leaving the audience disconnected and apathetic toward their fates. The script is not worthy of being played in a high school drama; it made talented actors like Tyrese Gibson, Michael Jai White, and Dolph Lundgren (who are great actors) look like comedy skit makers.

The action sequences, supposedly the film's saving grace, are a disorienting mishmash of shaky camerawork and incomprehensible editing. It's as if the filmmakers strapped cameras to a group of drunken monkeys and let them loose on the battlefield. The result is a chaotic and headache-inducing visual assault that leaves the viewer disoriented and utterly unengaged.

Even the production values, or lack thereof, contribute to the film's unmitigated disaster. The sets are uninspired and cheaply constructed, while the special effects are laughably amateurish. The sound design is a cacophony of misplaced explosions and exaggerated gunfire, further adding to the overall assault on the senses.

This movie is a cinematic debacle that fails on every conceivable level. It insults the intelligence of its audience, tarnishes the reputation of war films, and should serve as a cautionary tale for aspiring filmmakers. Save your time, your money, and your sanity by avoiding this cinematic atrocity at all costs.

I wish I could give this a minus 10-star rating. Even movies made in the 40s make more sense than this. What a waste of my precious time. I would only recommend this movie to those contemplating assisted suicide as a means of escaping this world.