OVER­LORD

Mon­ster Mash

SFX - - Reviews -

Fus­ing the scorched vi­su­als of Full Metal Jacket with the body hor­ror of The Thing, this solid B-flick is a gory di­ver­sion that thrills in the watch­ing, but is ul­ti­mately rather for­get­table.

Still, it opens with a bravura se­quence aboard a trans­port plane, which is shot down over France dur­ing World War II. Di­rec­tor Julius Avery bol­sters long, jit­tery takes that put us right in the ac­tion along­side sen­si­tive Pri­vate Boyce (Jo­van Adepo) and no-non­sense Sergeant Ford (Wy­att Rus­sell, son of Kurt). It’s a nail-shred­der of a scene that Avery strug­gles to match for im­pact else­where.

When Boyce, Ford and their sur­viv­ing com­rades (in­clud­ing Iain De Caestecker) land in an apoc­a­lyp­tic vil­lage, they at­tempt to com­plete their mis­sion of tak­ing out a ra­dio tower, while un­cov­er­ing dis­turb­ing ex­per­i­ments led by Nazi Dr Wafner (Pilou As­baek). Plus there’s vil­lager Chloe (Mathilde Ol­livier) to worry about – she’s tak­ing care of her young brother while her af­flicted aunt (Meg Fos­ter) suf­fers be­hind a closed door up­stairs.

Favour­ing a slow burn that en­dears us to its char­ac­ters, but fails to de­liver more than generic mon­ster movie twists, Over­lord is a fun, bru­tal ex­er­cise in gen­re­mash­ing. There’s a comic book vibe to the un­der­ground Nazi lair, and Adepo and Rus­sell make for charis­matic he­roes it’s im­pos­si­ble not to root for. Mean­while, pro­ducer JJ Abrams’s pres­ence is felt in the seam­less syn­the­sis of pros­thetic ef­fects and CGI, which gifts Caestecker the film’s most com­i­cally nasty mo­ment. Solid sci-fi, then, but it rarely breaks new ground. Josh Win­ning

It fails to de­liver more than generic twists

We don’t think that’s a puppy or a kit­ten in there.

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