Boll's first genre film to garner some reluctant good reviews, Tunnel Rats is a fact based tale that was largely improvised by its solid B movie cast, giving the film an authentic sense of realism. As a Vietnam film, it's still miles away from Platoon, but it shows Boll in charge of his craft and exemplifies his knowledge and understanding of cinema.
Boll's riotous, wildly politically incorrect gonzo splatter comedy uses the popular game as a springboard for an all out attack on good taste and an extended middle finger to his detractors. Not all of it works, but when it's funny, it's very, VERY funny. And rude. And wrong. And funny.
A darker cousin to Postal, Rampage tells the Falling Down-on-crack tale of a schlep who has had enough, dons a riot gear suit of armor and murders literally everyone and everything he sees. Allegorical, blackly funny and unflinching, this is Boll at his angriest and most cinematic. Rightfully well-regarded, even by hardcore anti Boll-ites.
Boll is an incredibly political and "plugged in" person and Darfur (aka Attack on Darfur) just might be his volatile masterpiece. In it, a group of Journalists risk their lives to save some innocent villagers from an organized militia attack. Gorgeously shot, impressively acted and wrenching, the film won awards and acclaim. But again, mainstream press largely ignored the movie because of Boll's name. A damn shame, that. See it for yourself.
Also released under the exploitative title Fist of the Reich, Max Schmeling is an earnest biopic made for the German market about '30s boxer Schmeling who defied the Nazis and became a champion. A solid story, well-directed and the bold decision to cast a boxer, not an actor, in the lead once more exemplifies Boll's ability to take risks and tell the stories he wants to tell.
Boll's thrid kick at the Bloodrayne can is the best of the lot, a berserk bit of Nazisploitation that showcases Natassia Malthe's impressive physique and presence. In it, Rayne battles Hitler's droogs and accidentally turns a Nazi (Boll regular Michael Pare) into a vampire. Tons of weird action and arch performances make this one a lowbrow blast. If Boll's name wasn't on it, many horror fans would have probably embraced the picture.
Boll tried to pry himself out of the genre film ghetto with this "message" movie, a pseudo-doc/apology aimed to shock young German teens and Holocaust deniers into submission. Framed by footage of Boll himself explaining the point of the picture, the middle section of Auschwitz is a hideous ballet of re-enacted atrocities. The effect is unpleasant and disturbing and that's the point. A flawed movie but a brave one.