“Tunnels of death” (original called “1968. Tunnel rats,” which more eloquently) another film by Uwe Boll, charged with pretensions to depth and seriousness, and not for ekranizirovana computer games.
I didn’t expect anything from this military drama, but knowing almost the entire previous Director’s filmography, I was hoping that this film will be a pleasant exception from the General list, a sort of “white stain” on the reputation of the German.
Half an hour later viewing
The first third of the session introduces us to the heroes and charges right spirit, but the advantages are temporarily exhausted. Nothing really informative, you will not see, only hear good arguments to the American soldiers about a variety of things from nostalgic narratives to bombastic biblical motifs. Perhaps the case when you wind the film forward not ashamed. And the characters did not penetrate: can not ball, in most cases, to force the viewer to side with anyone.
But after thirty minutes, the story still moves forward.
After an hour of viewing
The second third of the session is filled with all sorts of events, not giving bored on the background of a rather dull first. Although in General some great interest is also not waking up. The action continues on the ground under it, but, of course, based on the name of the picture, the second option is most relevant. I liked that the tunnels built by the Vietnamese, also contain some trap: one is destined in time to notice them, others not a great time to get into them. In addition, the Americans surprised the threat from the outside, the appearance of which always unexpected.
Given that only two locations, Uwe Boll miraculously manages to create the required voltage, not working, unfortunately, solely by itself, for no psychological or emotional backup has: alas, the characters remain indifferent to the viewer until the very end.
Well, the final one-third reflects the creative approach of German filmmaking when he aims at the maximum sophisticated finish characters, close all the exits and make a carnival dancing on the fictional lives. One by one the characters get into a stalemate situation, predetermining the equal status of both warring parties, before the mother’s death. The question of who in the end will win, the Vietnamese or the Americans, disappears completely, and instead raises another: who, having met the enemy on the way, remain human. This part of the story, the Director and writer managed to “Hooray”: no matter how prolonged the survival scene or confrontation between one and the other, they hit right on target, and the actors are quite bearable.
However, even such a consoling factor is suddenly shattered, destroyed by the finale, which is traditionally called the “shears ball” by: the film puts the point, and senselessly and mercilessly cut off, like Uwe, reprimand, once again decides to ignore the appropriate requests of audience and just include the credits when you mentally plead, “please, show me the last scene, at least the fucking sunset with flying birds under the pompous Patriotic music to within yourself to come to terms with everything that has happened”. No, no and no. Sit down, man, still, you don’t decide how things should be.
My assessment of the “Tunnels of death” was based on solid contrasts. Horrible beginning, tolerated the middle interesting ending. Coping well with the roles the actors is absolutely not spelled out and therefore blank characters. Useless dialogue is perfectly transmitted a silent claustrophobia in the tunnels. The lack of integrity of the story the high quality of some of the individual scenes, which is tacit moral basis of the film. Uwe Boll left Uwe Boll to the last, but somehow I’m not even really can not understand good or bad. Probably something in between.
5 out of 10