Talking Movies

November 21, 2018

Notes on Overlord

Julius Avery’s WWII horror follow-up to Son of a Gun was the catch-up film of the week on Sunday Breakfast with Patrick Doyle last Sunday.

Watching Overlord is a time-travelling experience, and not because this WWII guys on a mission movie mash-up with a gory zombie horror begins with Ike’s reading of his celebrated D-Day missive to the troops about to undertake the deliverance of Europe from the Nazis with the logistical marvel of Operation Overlord. This feels like a film from the mid-Zeroes. Hostel is in its DNA, as is the second episode of Band of Brothers, and, via Doom, the aesthetics of a shoot ’em up video game. In a film about hideous Nazi ‘medical’ experiments on civilians, that is seemingly oblivious of the existence of Dr Josef Mengele, proceedings end with a zombie boss fight – because that’s the logic at work. Wyatt Russell is the gruff ‘the mission is all that matters’ paratrooper who takes command of the decimated forces including Jovan Adepo, John Magaro, and Iain De Caestecker. Their mission: destroy a radio tower. Their distractions: a pretty French girl (Mathilde Ollivier), an SS Captain (Pilou Asbaek), and a dark secret lurking inside the base.

If it wasn’t bad enough to be oblivious of Mengele and have a zombie boss fight in a WWII movie about Nazi experimentations, there is also, regrettably, the trope that infuriates like few others in modern Hollywood – of one life being prioritised to the point of insanity. cf Saving Private Ryan, The Matrix Reloaded, The Cabin in the Woods. Is it worth leaving Europe under Nazi occupation and letting the Holocaust continue on for the sake of saving one random French kid that the soldiers have just met? That is the choice that Jovan Adepo’s character forces on the others. Wyatt Russell’s disbelieving explosive expert tries to remind his men that they are supposed to blow up the radio tower so that D-Day can succeed, does that not strike them as slightly more important than Adepo trying to impress a girl by saving her brother? Guess what they decide…

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March 22, 2012

Act of Valour

Weapons technology and American patriotism fetishist Tom Clancy presents a movie from Kurt Johnstad (co-writer of the bombastic 300) starring active duty Navy Seals. Surprisingly, it’s actually pretty damn good.

If you watched David Mamet’s The Unit you’ll recognise this world of American Special Forces popping up all over the world to orchestrate mayhem. The film opens with a truly horrific car-bombing in the Philippines, before trotting through retaliatory operations by our heroes in Costa Rica, the Horn of Africa, and Mexico, with a detour for the audience to meet the villains in Ukraine. Directors Scott Waugh (a former stuntman) & Mouse McCoy (a former motorcycle champion) developed the movie from talking to Navy Seals, and then decided to just cast them. So Lieutenant Commander Rorke and his best friend (and deputy) Special Warfare Operator Chief Dave lead Seals Ajay, Ray, Mikey, and Weimy into action. Actual actors opposite them include Roselyn Sanchez (Without a Trace), Nestor Serrano (90210), and intense Broadway star Jason Cottle as Jihadist villain Abul Shabal.

If Sam Worthington is the baseline of competency in film acting Rorke and Dave are discernibly just beneath his level, not least because of incredibly thick accents unpolished by acting school. However, bar a couple of awkward emotional scenes, it actually doesn’t matter as they really do bring it as soon as they’re required to banter and blitz. The best actor among the Seals is unsurprisingly Senior Chief Van O (a dead ringer for Bill Murray’s Steve Zissou), the eternally calm centre of this storm. Van O improvised from notes an entire interrogation scene with Alex Veadov’s opportunistic drug-smuggler Christo, thereby adlibbing the movie’s funniest line, “You’ve never seen Star Trek?! Oh, that’s just insane”, as he alternates charm and cruelty. The movie’s impressive action scenes were similarly actually choreographed by the Seals themselves from scripted notes by the directors.

The stealth attack on a Mexican village, frontal assault on a Mexican drug cartel stronghold, and a bloody subterranean battle are all incredibly authentic as a result. Canon’s ultra-light 5D digital camera is frequently mounted on helmets to provide a Doom-style immersion, with a Bourne-style fist-fight featuring a disturbing first-person POV as a heroine is thrown through a glass table and kicked in the head. A frenetic car-chase that culminates in a ‘hot extraction’ is this year’s best action sequence to date; the live fire (!) employed making it jaw-dropping. Presumably DP Shane Hurlbut wasn’t freaked because having been the victim of the Bale-out on Terminator: Salvation nothing scares him anymore. Importantly Act of Valour isn’t propaganda. It showcases a stunning act of self-sacrifice, and the presence of a wheelchair, eye-patch and coffin in the closing scenes attest to these missions’ cost.

What could have been a mere curiosity is elevated beyond its basic scripting by tactically canny action to become a good movie.

3/5

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