Joel Schumacher has committed countless crimes against cinema-going decency - Batman Forever, Batman & Robin, 8MM, Flawless and so on, writes David Parkison.

With Tigerland, he atones for some of those sins. But it will take a great deal more than one bravura wartime drama to attain redemption.

It's 1971 and the war in Vietnam is escalating. The spectre of death looms large over the men of A-Company, Second Platoon, stationed at Fort Polk in Louisiana.

Private Jim Paxton (Matthew Davis) hopes the war will inspire his writing, Private Cantwell (Tom Guiry) is resigned to his fate, Private Miter (Clifton Collins Jr) hopes it will turn him into a real man and Private Wilson (Shea Whigman) lusts for enemy blood.

Unity in the ranks is obliterated by the arrival of Roland Bozz (Colin Farrell), who wants to leave the army and disobeys the orders of his superiors.

As Bozz's influence infects the platoon, the men begin to see the full gravity of their situation. But nothing Bozz can say or do will save himself or his fellow soldiers from the horrors of conflict.

Filmed on moody, colour-bleached 16mm, Tigerland is a coruscating account of the rigours of war, viewed from the perspective of the men on the ground. In particular, the film echoes the idea that violence and intimidation are the most effective tools to transform ordinary men into capable soldiers.

The minimalist direction and shaky hand-held camerawork are a far cry from Shumacher's usual glossy excesses and lend the film an air of gritty realism.

Farrell announces himself as a major star of the future. His charismatic turn, as the joker of the pack who reluctantly accepts the mantle of group leader, is the fire in the screenplay's belly.

He contrasts nicely with Davis as the naive optimist who believes in the pride and honour of fighting for one's country.

Although the dialogue is sometimes a tad pretentious, and issues of racism are barely addressed, Tigerland packs considerable emotional punch.