It is easy to interpret how ‘Overlord’ is simply a glorification of Western perception towards Germans during the Second World War. By allowing the Nazis portrayed as either slaughter machines or monster creators, we can say that the representation is a satirical look of American gaze on a blockbuster thriller template. Does the whole thing feel gratuitous? On just how director Julius Avery simply puts it, perhaps yes. This film is geared towards an exaggerated view of the subject matter, and it surprisingly collates to some pretty fun result.
In this movie, we follow a group of American soldiers as they infiltrate and blow up a church populated by Germans. Their mission takes a change course when one of the members learned what’s actually cooking inside by the lab scientists.
Avery has a very interesting take here. Instead of going for more high stakes flares, he opts for a micro-look of the war. Majority of the scenes in the film takes place on a room, the back-seat of a vehicle, and other confined locations. This enables Avery to stay closer to his characters, and with frequent close-ups, he was able to craft effective adrenaline rushes most of the time.
And this is where to film shines the most. With its character-oriented nature, the entire thing felt like a ride almost that seems to never stop. It immerses by allowing itself to be discreet and intimate in its framing, giving the thrill aspect of it be the second priority.
Avery clearly wants us to enjoy watching it. This is a film that deserves to be seen with as much crowd as possible. Collective responses really enhance the experience. But even on an individual standpoint, I do think it still carries itself pretty well because of the interesting story it spares.
PHOTO CREDIT: UIP Philippines
Let's talk about your cinematic adventures!
Twitter: @FilmGeekGuy
Instagram: FilmGeekGuy
E-Mail: matthew.escosia@gmail.com
%20Quark%20Henares%20Poster.png)
Comments
Post a Comment