Review of Overlord
The movie starts off lurid and livid and continues in this vein throughout.
The opening sequence sets the stage. Overflying the DDay invasion fleet in the British Channel, our team verbally spar for dominance. Bullets start flying almost right away, grisly, bright things that tear through aircraft aluminum like tissue paper. Ed, our hero, falls from the disintegrating aircraft through an aerial war only J.J.Abrahms could visualize.
The setting then changes to occupied France. You’ve seen it before. In Wonderwoman, maybe in Miracle at Santa Anna. It takes a while to go from the standard but gloriously depicted horrors of war to the supernatural horror elements but when it goes there, it goes pretty hard. There’s not much very unique here. There have been a hundred horror movies set around Hitler’s obsession with occultism. The others mostly don’t rise to this level of cinematography. If anything, it’s a little derivative of WonderWoman.
You’ll notice some unrealism. Most of the bullets fired in this war didn’t leave red chemtrails behind them. The movie really amps up the excitement and the chaos with tracer rounds galore. And we’re dealing with an integrated unit before the Army integrated units, with even a black sergeant commanding white subordinates.
A problem with telling war stories is you end up sacrificing diversity to realism. I faced this struggle writing The Worst of Us a few years ago. A Vietnam War story ought not have any female soldiers in the field. I decided that a supernatural horror story could tolerate some bending of rules, though, and the producers of Overlord seem to have made a similar choice. They didn’t include women, though, only integrating the unit.
My philosophy is, if you don’t draw the line at zombies, then drawing it at integrated units seems a mite racist. Moreover, the weapons fire and most of the scenario require certain work to suspend disbelief, too.
This movie was fun with its own shocking moments, plenty of gore, and enough action to keep you hopping. It’s nothing unique so don’t go in expecting literary fiction.
The opening sequence sets the stage. Overflying the DDay invasion fleet in the British Channel, our team verbally spar for dominance. Bullets start flying almost right away, grisly, bright things that tear through aircraft aluminum like tissue paper. Ed, our hero, falls from the disintegrating aircraft through an aerial war only J.J.Abrahms could visualize.
The setting then changes to occupied France. You’ve seen it before. In Wonderwoman, maybe in Miracle at Santa Anna. It takes a while to go from the standard but gloriously depicted horrors of war to the supernatural horror elements but when it goes there, it goes pretty hard. There’s not much very unique here. There have been a hundred horror movies set around Hitler’s obsession with occultism. The others mostly don’t rise to this level of cinematography. If anything, it’s a little derivative of WonderWoman.
You’ll notice some unrealism. Most of the bullets fired in this war didn’t leave red chemtrails behind them. The movie really amps up the excitement and the chaos with tracer rounds galore. And we’re dealing with an integrated unit before the Army integrated units, with even a black sergeant commanding white subordinates.
A problem with telling war stories is you end up sacrificing diversity to realism. I faced this struggle writing The Worst of Us a few years ago. A Vietnam War story ought not have any female soldiers in the field. I decided that a supernatural horror story could tolerate some bending of rules, though, and the producers of Overlord seem to have made a similar choice. They didn’t include women, though, only integrating the unit.
My philosophy is, if you don’t draw the line at zombies, then drawing it at integrated units seems a mite racist. Moreover, the weapons fire and most of the scenario require certain work to suspend disbelief, too.
This movie was fun with its own shocking moments, plenty of gore, and enough action to keep you hopping. It’s nothing unique so don’t go in expecting literary fiction.
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