Ambush (2023)

Ambush is a lean, surprisingly clever Vietnam War thriller that finds its hook by dragging combat into the claustrophobic darkness of underground tunnels, where every footstep feels like a gamble and the usual rules of engagement don’t apply. It has a throwback, boots-on-the-ground intensity—more gritty pressure cooker than glossy spectacle—and Mark Burman stages the action with resourceful confidence, turning a modest scale into tight, nerve-rattling momentum. Jonathan Rhys Meyers, Connor Paolo, and Aaron Eckhart give the film a steady human center, selling the fear, fatigue, and determination without resorting to speeches. It’s not for the squeamish—violence is severe and the tension can be relentless—but if you want a brisk, entertaining war movie that earns its thrills through atmosphere and smart staging, this one delivers.

Ambush wants to be a tense, claustrophobic Vietnam tunnel-war thriller, trading big battlefield spectacle for panic, darkness, and close-quarters survival. The problem is it leans hard on familiar war-movie beats and a plot that feels more labored than gripping, so the “high-stakes mission” often plays like people trudging from one dim corridor to the next. Pacing is the real enemy here: the underground stretch drags, and if you came for frequent, well-staged combat, you may be surprised by how little punch the action actually lands with on what looks like a tight budget. Still, there are moments of atmosphere and a few committed performances, so if you’re specifically into low-key, gritty tunnel tension and can tolerate clichés, it might scratch that itch—otherwise, your time is probably better spent elsewhere.