'Overlord' Review

On the eve of D-Day, American paratroopers drop behind enemy lines to penetrate the walls of a fortified church and destroy a radio transmitter. As the soldiers approach their target, they soon begin to realize that there's more going on in the Nazi-occupied village than a simple military operation. Making their way to an underground lab, outnumbered men stumble upon a sinister experiment that forces them into a vicious battle against an army of the undead.

Overlord is directed by Julius Avery and written by Mark L. Smith and Billy Ray. Supposedly, it was originally intended to tie into Cloverfield and the corresponding anthology, but alas, Overlord is not another Cloverfield movie. It's actually a fairly grounded, gruesome war flick preceding the Normandy Invasion once the supernatural elements are removed. Though Overlord is set during World War II and features zombies created by Nazi experimentation, I feel I should inform you that it's not quite the cinematic equivalent of the Nazi Zombies game mode from Call of Duty. The zombies were more of a mysterious obstacle sprinkled into the story as opposed to being the primary plot focus. This is a war film first, and a grindhouse-styled B-movie second. Overlord happens to be at its best whenever the genres overlap. 

Easing audiences into the supernatural, Overlord takes its time to unleash its undead entities and instead first focuses on setting the stage for all the insanity to come. Viewers are dropped right into the action as planes full of paratroopers fly over Normandy. Things quickly go awry, but Overlord's seemingly no different than the war movies audiences have grown accustomed to. The characters are painted in broad strokes, but manage to be no less endearing. While their personalities were rather simple, the characters were likable enough for me to at least become invested in their survival. Beyond that, the cast is chocked full of cinematic soldier stereotypes, for better or for worse. 

Otherwise, Overlord proved itself to be more gory and suspenseful than I could have ever imagined, boasting creature effects so excellent that the make-up, prosthetics, and visual effects work was all indistinguishable. Other elements I appreciated included the cinematography from Laurie Rose and Fabian Wagner as well as Jed Kurzel's score.

The ensemble cast of up-and-coming acting talent also demonstrate substantial range in a plethora of physically and emotionally-exhaustive roles. Jovan Adepo, Wyatt Russell, John Magaro, Iain De Caestecker, Mathilde Ollivier, and Pilou Asbæk each elevate simplistic material to portray larger-than-life personalities befitting of an exploitation flick.

At the end of the day, Overlord wasn't exactly what I expected it to be, but I enjoyed it in all its grindhouse glory. If you're interested in World War II, zombies, or all of the above, you can't afford to Nazi Overlord in theaters.

Film Assessment: B+

'Fences' Review

Nominated For: Best Picture, Best Actor; Denzel Washington, Best Supporting Actress; Viola Davis, and Best Adapted Screenplay.
Won: Best Supporting Actress; Viola Davis.

Fences is the film adaptation of August Wilson's Pulitzer Prize-winning play chronicling 53 year old garbage man Troy Maxson and his complicated home-life. I won't dive into further detail in regards to the plot because it's best to watch the film as fresh as possible, and I have yet to see the stage show so I had a clean slate and felt it improved the experience.

Denzel Washington stars and directs certainly proving this material could make the leap from stage to screen but I will say the general structure of the plot, long scenes of dialogue (occasionally monologues), and lack of sets and a genuine musical score make the proceedings feel very theatrical and not quite cinematic, it was apparent this was adapted from a stage play and that sometime the transition doesn't work as well as intended.

Washington does however wisely puts focus on the tremendous acting on display and the rich character drama occurring in the simple narrative. Fences features Viola Davis and Washington front and center as both had previously appeared in the 2010 stage play revival earning Tony's for their incredible performances. It's no wonder that they continue to give it their all considering they're both quite familiar with their respective roles.

Denzel Washington is probably one of the most likable actors working in Hollywood today yet he manages to channel all the characteristics of a raw, hardened, and broken man. Washington's Troy is a complex protagonist but one I doubt you will leave the theater liking, to put it simply he's a jerk. Maxson's actions push those closest to him far away yet these characters are practically bound to him since they're family and seeing the heated interactions between husband/wife and father/son really help drive the narrative forward.

It's odd but telling of August Wilson's screenplay that the words between these characters have such a huge impact on the story and oddly it's the actions we don't see but instead hear about that speak louder than words, bringing the well known idiom to fruition and another piece of evidence that the source material was meant for the stage.

Viola Davis makes great use of every moment of screen-time as Troy's wife Rose, showcasing an immense emotional range from nuanced irritation to an outright emotional breakdown that will draw sympathy from even the hardest heart in the audience. Other strong supporting performances that don't shrink at the outstanding work from their formidable costars include Stephen Henderson as Troy's happy-go lucky pal Mr. Bono, Jovan Adepo playing Troy's determined son Cory, Russell Hornsby portraying Troy's other son Lyons who wants to make a name for himself as a musician, and Mykelti Williamson as Troy's damaged brother Gabe.

In conclusion, Fences is worth seeing for it's passionate performances but I doubt I will revisit it anytime soon. Fences works best as a performance piece but outside of that doesn't offer much else as the film begins to wear on the viewer in the third act epilogue. Maybe an intermission would have helped.

Film Assessment: B