Overlord: A Thrilling but Overly Serious Nazi Zombie Horror
As Allied forces gear up for the pivotal Normandy landings, a small group of American soldiers is tasked with disabling a radio jammer in a French village. A brutal assault leaves only five survivors from a plane carrying dozens of soldiers. These men must now face overwhelming numbers of Nazi soldiers and, unexpectedly, hordes of the undead.
“Overlord” kicks off with a classic war movie setup: a daring mission behind enemy lines and a chaotic plane crash. Explosions rock the screen, soldiers shout, and commanders deliver rousing speeches. The survivors, embodying archetypal characters like the Coward, the Fool, and the Veteran, must band together to complete their mission. Notably, there are two “cowards” among them, one of whom is our protagonist.
The story follows a familiar path: a quaint French village, a helpful local woman, and a sinister laboratory hidden beneath the target. Surprisingly, this predictable setup forms the strongest part of “Overlord.” Director Julius Avery masterfully stylizes the film with a retro aesthetic, reminiscent of old war movie posters and vintage television broadcasts. By embracing the conventions, the narrative transforms into a heroic tale, turning clichés into homages.
A humorous detail, specific to the Russian dubbing, involves the main villain, a Nazi officer, inexplicably speaking with a pronounced lisp, akin to Inspector Clouseau from “The Pink Panther.” This was likely an attempt to mimic a German accent, but it falls flat.
Avery demonstrates impressive confidence for a relatively new director. He elevates a small-scale operation into a momentous and all-encompassing event. Even the claustrophobic settings in the final act don’t feel tiresome. Until the introduction of zombies, the film is a simple yet compelling tribute to classic war movies, thanks to strong direction and performances.
The arrival of the undead doesn’t completely derail “Overlord,” which remains a well-crafted film with excellent practical effects. The gore and dismemberment are top-notch, earning a nod of approval from David Cronenberg. The film also manages to maintain some personal drama and believable chemistry between the characters.
However, the retro nostalgia quickly fades as the heroes shift from fighting Nazi soldiers to battling snarling, undead Nazi soldiers. This plot twist, intended to inject new life into the story, has the opposite effect. In the wake of films like “Dead Snow,” it’s difficult to take Nazi zombies seriously without a healthy dose of irony. “Overlord” lacks this crucial element, presenting its undead with an unwavering seriousness. Even the over-the-top “Call of Duty” zombie modes understand the need for humor when dealing with Nazi experiments and megalomaniacal officers. It’s unclear why producer J.J. Abrams missed this simple point.
The film seems determined to avoid anything that might make it more enjoyable. The zombies are treated as a minor inconvenience, with the characters acting as if everything is normal. The sight of reanimated corpses elicits less surprise than it does from the audience. The film features compelling characters, including Wyatt Russell, who bears a striking resemblance to his father in both appearance and charisma. However, the story focuses on a morally upright rookie who rarely kills enemies, preferring to gently tap them on the head with his rifle.
The Flaw in Overlord
Boyce, the protagonist, is arguably “Overlord’s” biggest flaw. His irritating righteousness makes him feel lifeless, as much a zombie as the undead themselves. Unfortunately, “Overlord” offers no clever meta-commentary on this.