Overlord
2018 · Directed by Julius Avery
Original language: English
- horror
- war
- science fiction
The story
On the eve of D-Day, a team of American paratroopers crash behind enemy lines and come face-to-face with a Nazi threat unlike any the world has ever seen.
What it’s like
Grimy, smoke-filled night skies and flickering torchlight give way to cramped, sweat-darkened interiors where the palette runs to muddy olive, rust and bruised blue, with orange fireballs punching through the gloom. Handheld camera stays close on the soldiers as they stumble through dense woods and a shadowed French village, and the church and basement sets are lit with hard, sickly practicals that make the lab feel clinical and wrong. The score is a pulsing, low-register synth and drone that swells into percussive thuds during firefights, with long stretches of ringing silence after blasts. Its vibe is gritty, claustrophobic dread with a pulpy, B-movie streak, best suited to a late-night watch with the lights off. The pace is relentless once the mission starts, tightening into tense crawling sequences and then breaking into loud, chaotic bursts. Violence is frequent and graphic: close-quarters gunfire, bloody wounds, explosions and bodily horror that lands hard rather than lingering in gore for its own sake. Men's loyalties are tested under pressure, with a young soldier's courage slowly hardening into resolve. It suits viewers who want a loud, fierce genre ride with war-movie grit and creature-feature shocks, not anything gentle.
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