Set in contemporary Chicago, amid a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands' criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.
A darkness swirls at the center of a world-renowned dance company, one that will engulf the artistic director, an ambitious young dancer, and a grieving psychotherapist. Some will succumb to the nightmare. Others will finally wake up.
On the eve of D-Day, the 5th of June, 1944, several American paratroopers are dropped behind enemy lines to carry out a mission crucial to the invasion's success: destroy a radio tower built in a little castle of an old French town that the Third Reich uses for communication between Berlin and Normandy beaches' bunkers. Due to the intense enemy fire, the planes are shot down and most soldiers die in the landing or are killed by the Nazis' night patrols after they taking land. However, a private named Ed Boyce survives to find Corporal Ford, a last-minute incorporation from Italy and a veteran expert in bombs and explosives, rogue sniper Tibbet, war photographer Chase, and finally private Dawson. After they watch the killing of their superior Sargeant Eldson by a Nazi night patrol, Ford turns in the leader of the group and they try to get the town with the tower in order to complete the mission. In the forest close to the town, almost arriving to it, they meet Chloe, a villager who ...Written by
One of the filming locations for the film was a decommissioned branch-line of the heritage train line and popular tourist attraction, the Bluebell Railway, in West Sussex, England. See more »
The only African-American airborne outfit was the 555th Parachute Infantry Battalion (Triple Nickles). Although the unit was ready for combat, it came close to being used in the Battle of the Bulge but that crisis passed and the unit never went overseas or saw combat. See more »
There's a lot of soldiers out there and there's only four of us.
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After the film was given the restricted R18+ rating in Australia, Paramount Pictures decided to edit out almost 1 minute of footage to lessen the violence. The subsequent re-submission got the film a more accessible MA15+ rating. It is believed that the film will be fully restored for its home entertainment release. See more »
'Overlord (2018)' certainly has tonal issues, often being properly horrific but seeming to want to inject humour at the most inopportune of moments. It's also quite schlocky essentially every time it tries to do anything more traditionally 'war movie'-esque. This is especially prevelant in the moments where it wants us to believe its heroes are being overtly and defiantly heroic, in spite of their army-given orders or previously quite unlikable (sometimes contemptible) character-traits, or in the times where it tries to tie its events directly into the narrative of the overall Second World War - which is actually quite disturbing not in its slightly jingoistic and strangely campy ending but in its undercurrent of Nazi experimentation, something that did really occur to an extent perhaps less sensational but far more despicable than what's seen here. Really, the issues come down to the writing, which isn't as nuanced as it perhaps thinks it is but also isn't as straight-forwardly 'genre-specific' as it perhaps ought to have been. There are times when the flick works, though, which mainly come when it slips straight into the fantastical, horror territory where it feels most at home and, indeed, adept. Here, it puts the historical context further into the background than before, using it as a backdrop for a sort of silly but played-straight science-fiction flick that actually works well when it tries to scare and make squirm. The visuals are pretty much universally good and, aside from a couple of unnecessarily glorified gore-shots, the violence is presented as believably painful and properly gruesome, too. Ultimately, this makes for a flawed experience that's at its best when it just lets the viscera fly like it is slick, big-budgeted and generally very well put-together grindhouse-bound 'trash art'. 6/10
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