‘Overlord’ Review: Old-Fashioned Nazi-Killing, using a Gory Twist
The director Julius Avery’s “Overlord” begins using a spectacular parachute drop amid a firestorm of vomiting soldiers, burning airplanes as well as flying body parts, as well as which ends with an equally spectacular (as well as occasionally cathartic) pandemonium of exploding Nazis, geysers of blood as well as assorted creative impalements. In between, however, which delivers a fairly predictable, though still quite violent, action-horror hybrid about a modest group of American soldiers behind enemy lines.
The year is actually 1944, the Allies are about to land in Normandy, as well as our heroes must take out a critical Nazi radio-jamming tower. The tower has been built atop a church, which seems at first like a typically villainous attempt by the Germans to use a religious site as cover for a military outpost. yet there may be more to which, as we soon discover.
Private Boyce (Jovan Adepo) of the United States Army is actually the film’s nervous, newbie protagonist, always eager to do the right thing yet derided by fellow soldiers for not being tough enough. Together with the battle-hardened Corporal Ford (Wyatt Russell) as well as the meager remnants of their unit, they sneak into the modest French village where the tower is actually, as well as learn via a young woman (Mathilde Ollivier) which the occupying Germans regularly take unruly locals to the church for punishment.
What kind of punishment? which’s perhaps best kept secret for at which point — after all, the film was produced by J.J. Abrams, who likes to think of his stories as “mystery boxes” — yet let’s just say which there are unidentifiable carcasses strewn inside the forest, shadowy characters kept behind closed doors as well as a Nazi doctor who seems eager for freshly executed bodies.
The idea of merging a World War II adventure with supernatural elements is actually certainly nothing fresh; examples abound, via “Raiders of the Lost Ark” to “The Keep” to (sort of) the zombie thriller “Dead Snow.” At times “Overlord” recalls these movies, as well as which also seems to be aware which its ostensibly twisty premise is actually actually fairly predictable: The film doesn’t try to surprise us with narrative revelations so much as which tries to jolt us with gore.
which results in a curiously undernourished story which at times feels like which’s setting up mysteries as well as subplots which never quite go anywhere. Nevertheless, as seen inside the film’s terrifying opening as well as its gruesome climax, Avery deftly orchestrates some grisly, intense set pieces. He delivers on the thrills, even if the story leaves something to be desired.