War movies have long occupied a central place in the cultural imagination, often shaping and reflecting our understanding of conflict, sacrifice, and the human condition. Yet, for every blockbuster epic or widely celebrated classic, there are quieter, lesser-known films that offer a different, sometimes more intimate, view of war’s impact. On March 16, 2026, Collider published a comprehensive list spotlighting the ten most underrated war movies of the last century. The very next day, IndieWire featured a revealing interview about one such film—Lynne Littman’s 1983 masterpiece Testament—which, despite its acclaim, remains largely under the radar for many viewers. Together, these pieces paint a picture of a cinematic landscape rich with overlooked gems that challenge, move, and surprise us.
At the top of Collider’s list sits Cross of Iron (1977), directed by Sam Peckinpah. This World War II drama stands apart for its focus on German soldiers fighting on the Eastern Front. Rather than glorifying the Nazi cause, the film zeroes in on the shared suffering of ordinary men caught in the machinery of war. James Coburn’s Sergeant Steiner is a battle-weary leader, clashing with an aristocratic officer obsessed with medals. The film’s relentless bleakness and intense violence capture the chaos and exhaustion of real combat, with survival becoming the only goal. Peckinpah’s signature style—gritty, raw, and psychologically complex—turns Cross of Iron into a searing meditation on the futility and absurdity of war.
Moving back a few decades, Samuel Fuller’s The Steel Helmet (1951) offers a punchy, unvarnished look at the Korean War. The film’s protagonist, a battered American sergeant portrayed by Gene Evans, joins a disparate unit after surviving an ambush. Fuller, working with a modest budget, delivers a story that’s lean and economical, yet politically sharp. The film doesn’t shy away from the racial tensions and ideological divisions within the American ranks, making it surprisingly progressive for its era. The combat scenes are chaotic and unpredictable, convincingly mirroring the confusion of real-life battlefields.
Another standout is The Year of Living Dangerously (1982), set amid the political upheaval of 1960s Indonesia. Directed by Peter Weir and starring Mel Gibson, the film follows Australian journalist Guy Hamilton as he navigates a landscape rife with unrest. Guided by photographer Billy Kwan (Linda Hunt), Hamilton is forced to reckon with his own ambitions and responsibilities. The film blends war drama, romance, and political thriller elements, resulting in a richly layered narrative. Its exploration of journalistic ethics and personal conscience remains as relevant today as it was upon release.
Some films on the list, like Tigerland (2000), take a different approach by focusing on the psychological impact of war before the soldiers even reach the battlefield. Colin Farrell’s Roland Bozz is a rebellious recruit undergoing training at a Louisiana boot camp ahead of deployment to Vietnam. The film’s gritty realism and handheld camera work immerse viewers in the anxiety, resistance, and camaraderie of young men grappling with the prospect of combat. By examining the internal conflicts that precede war, Tigerland offers a fresh perspective on a well-trodden subject.
Alfred Hitchcock’s Lifeboat (1944) compresses the drama of World War II into a single drifting vessel. After their ship is torpedoed, a group of survivors—including a German U-boat captain—must navigate not only the perils of the sea but also their own suspicions and prejudices. Hitchcock mines the confined setting for psychological tension, using dialogue as a battleground where trust and betrayal play out. Each character represents a different social background, turning the lifeboat into a microcosm of wartime society.
On the subject of unconventional perspectives, The Eagle Has Landed (1976) stands out for centering its story on German commandos attempting to kidnap Winston Churchill on British soil. Michael Caine’s Colonel Steiner leads a team disguised as Polish soldiers, infiltrating a rural English village. The film humanizes soldiers on both sides, eschewing caricature in favor of complex, morally conflicted characters. Director John Sturges keeps the suspense simmering, building to a satisfying climax that subverts expectations.
Other films, like A Midnight Clear (1992), delve into the possibility of peace amid chaos. Set during the final winter of World War II in the Ardennes forest, the film follows an American intelligence squad that stumbles upon a group of exhausted German soldiers seeking surrender. Despite the absence of villainy, mistrust and miscommunication gradually push the situation toward tragedy. The film’s sense of melancholy and inevitability, coupled with strong performances from Ethan Hawke and Gary Sinise, transforms it into a humanist drama rather than a standard action movie.
In contrast, Attack (1956) explores the corrosive effects of power and bureaucracy within an American infantry platoon during World War II. Jack Palance’s Lieutenant Costa battles with his cowardly superior, Captain Cooney, whose failures put the lives of his men at risk. The film’s deeply cynical tone challenges the notion that rank automatically deserves respect, offering a biting critique of military hierarchy and the dangers of blind obedience.
Meanwhile, Kajaki (2014), also known as Kilo Two Bravo, brings a harrowing true story from the war in Afghanistan to the screen. A British patrol becomes trapped in a minefield, and the film’s documentary-style immediacy and claustrophobic tension keep viewers on edge. The focus on ordinary troops and their desperate improvisations highlights the mixture of fear, courage, and dark humor that emerges in life-threatening situations.
Rounding out the list is Breaker Morant (1980), a military courtroom drama set during the Second Boer War. The film follows Australian officers facing court-martial for executing prisoners, raising thorny questions about responsibility, scapegoating, and the blurred rules of conflict. Edward Woodward’s portrayal of Morant as intelligent and bitter underscores the ethical contradictions at play. The film is as much a critique of imperialism as it is a meditation on the impossible choices soldiers must make.
And then there’s Testament (1983), which, while not included on Collider’s list, was given fresh attention in IndieWire’s March 17, 2026, interview. Directed by Lynne Littman and based on Carol Amen’s short story The Last Testament, the film chronicles the aftermath of a nuclear attack on a small town. Littman, coming from a documentary background, approached the film with a focus on realism and intimacy. “The story was about the beautiful life we have, and you have to come away with the horror of the loss of it,” Littman told IndieWire. She and cinematographer Steven Poster crafted a visually beautiful yet emotionally harrowing aesthetic, shooting in a real house and town to enhance authenticity.
Jane Alexander’s performance as a mother losing her family, member by member, earned her a Best Actress Academy Award nomination. Reflecting on the film’s restrained approach, Alexander said, “We don’t see the missiles flying in this. It’s so contained, within the area the characters have and the time that they have left. So what do we do as a family? We try to be as loving as possible.” The cast, including a young Lukas Haas, was encouraged to simply be themselves, resulting in a natural intimacy that heightens the tragedy. Despite the grim subject matter, both Alexander and Littman described the set as “sweet” and “congenial,” with the day-to-day reality of family life at the story’s heart.
Now newly available on Blu-ray from Criterion, Testament serves as a reminder of how the most powerful war stories are often those that focus not on spectacle, but on the quiet, devastating reverberations of loss and love. As these films demonstrate, the true impact of war is not always found in the heat of battle, but in the lives forever changed in its wake.