(Source: Kaleidoscope Film Distribution)
(Source: Kaleidoscope Film Distribution)

War has broken out, somewhere, somehow. The why’s and the how’s are not important. Nick Gillespie’s Tank 432 is just about moving on and finding shelter for the night. Who are we fighting? What is that figure in the horizon, and why does it seem to always appear out of nowhere?

Smith leads. Grantz follows. Reeve’s the rookie. Karlsson is the medic. Capper was left behind. Evans turned back and charged towards the enemy. There’s two hooded prisoners in tow and a girl locked up in a container they just freed. There’s nowhere to seek refuge except this armored vehicle up ahead. Seems like their perfect shelter, but it’s going to start feeling like a prison soon.

If there’s something more tense than a psychological drama, it’s one set in close quarters. Claustrophobic confinement soon becomes unescapable. Noises are coming from outside, and visions go along with them. Just don’t expect the cavalry coming to save you anytime soon.

It seems like every other war film you’ve watch before, until the evidence starts piling up. Something’s wrong. Smith keeps writing in his notepad while everyone is getting much more suspicious of what’s going on. The conclusion is a bit of a bullet-stuck-in-the-chamber feeling. We’re not giving the full debriefing in the end. Still, it had some strong moments.

Highs: Tense war drama with a healthy dose of paranoia and fuel for conspiracy theories. Good performances by the entire cast.

Lows: Stunted ending, where the explanation is only given half way. Instead of leaving it up to the viewer or giving us the full tour down the rabbit hole, we get half of an explanation just so we can fill in the lines. Might annoy some viewers.

Recommended with reservations. Well acted and solid war movie feel, but could’ve gone a bit longer with the ending. Feels a little bit like a short from the Twilight Zone.

Coming up, maybe!

That will do for now.