Operation Overlord Movie Ending Explained (In Detail)

Spoilers Alert:

In his furious horror actioner OPERATION: OVERLORD Director Julius Avery shows how terrifying Nazi zombies can be if you have enough budget. We reveal more about this in our review of the film.

The Plot Summary

On the eve of D-Day, a troop of American soldiers lands in a village in northern France occupied by USA troops. Here they want to blow up the radio tower to make it more difficult for the USAs to communicate. They meet the resolute Chloe (Mathilde Ollivier), who is hiding from the Nazis with her son. While trying to get to the radio tower, Boyce (Jovan Adepo), Ford (Wyatt Russell) and the rest of the team stumble upon a secret underground laboratory filled with people disfigured beyond recognition. You quickly realize what’s behind it: The occupiers are carrying out completely insane experiments on the villagers in order to breed fighting machines out of them – because the 1000-year empire needs 1000-year-old warriors… The consequences are devastating!

Movie explanation of the ending

Even before the streaming service Netflix announced during the Super Bowl halftime break at the beginning of the year that the latest part of the “Cloverfield” franchise was now available to watch, a rumor was circulating on the Internet that JJ Abrams was making a film about Nazis -Zombies, which would also fit into the loosely connected science fiction series. The film called “Operation: Overlord” is actually coming to theaters these days, but it has nothing to do with the “Cloverfield” franchise (unless we missed some spectacular detail when we first saw it). The fact that this line of thought is obvious, however, shows that we can hardly imagine that a large studio would dare to raise a big-budget topic that is actually intended for home cinema and trash without there being any larger plan behind it. The whole thing is a bit reminiscent of the shark action film “Meg”; In this case, too, a major production tried to make the shark suitable for salons or multiplexes again after its numerous excursions into low-budget realms – and failed spectacularly, at least from a quality perspective. “Operation: Overlord” now behaves more like the “Evil Dead” remake does to the “Cabin in the Woods” theme when it comes to Nazi zombies. At that time, Fede Alvarez’s bloody horror nightmare had to disturb the audience, after The satire “The Cabin in the Woods” once completely laid bare the rules of the genre. Director Julius Avery (“Sun of a Gun”) now supplies the topic of Nazi zombies with new blood and sometimes even takes them out of the trash corner.

Boyce (Jovan Adepo) discovers the Nazis’ underground laboratory where gruesome experiments are being carried out.

It’s amazing how long Billy Ray’s script is (“Before Her Eyes”) and Mark L. Smith (“The Revenant”) simply trusts in letting the horror of war stand on its own and have an effect on the viewer. In the first hour of “Operation: Overlord” you hardly see any of the Nazi zombies. Instead, the authors take a lot of time to establish the nightmare scenario that later escalates: For a long time, it was mainly things like mines or enemy soldiers that made the pulse of the people acting on the screen and the audience soar – and thus made them different For a long time, “Operation: Overlord” was not at all different from other war films; on the contrary: Although you know what absurdities the film will lead to in the coming hours, you always perceive the threatening atmosphere completely unironically. This has a particular impact on the confrontations between soldier and zombie in the second half, because, let’s be honest, hardly anyone perceives the undead as threatening in the context of Nazis these days. Productions like “Dead Snow”, “Nazi Zombie Battleground” and “Frankenstein’s Army” have single-handedly ensured this, which have also branded the subgenre for its permanent existence in the direct-to-DVD sector. His revival – in the truest sense of the word – only succeeds with the necessary seriousness. And Julius Avery’s stylish production almost single-handedly takes care of this!

After the first half credibly establishes the setting and the character constellation, the jump into the escapist second half is as smooth as it gets when you have to switch from a realistic war scenario to an action horror escalation. For some this leap may come too late; Although the trailers and marketing focus almost exclusively on the Nazi zombies, it’s only in the last twenty minutes that things really get going. But Julius Avery focuses on quality instead of quantity. Even without explicitly showing the undead, the bloodcurdling screams of the test subjects locked behind the walls or the eerie set pieces are enough to evoke associations in the viewer’s imagination that are (perhaps?) even worse than anything we see in the film shown in the final. All of this only succeeds because “Operation: Overlord” is so strong from a technical perspective that – if the Oscars were even remotely fair – it would receive all the film awards for the best set design, the best sound and, above all, for the would have to throw in the best make-up. Only occasionally does digital trick technology sneak in between the handmade shock effects, which turn each test subject into a small masterpiece of effect make-up and costuming. Here, faces are dismantled into their individual parts, holes are drilled into stomachs and articulated heads are impaled on stakes – and that’s just a part of the selection of monstrous creatures we see in “Operation: Overlord”. No wonder: if every human being can continue to live despite almost complete destruction, the shapeless things they move around look all the more horrific. And since “class instead of quantity” applies here, every single (formerly human) creature looks eerily beautiful in its own way.

Boyce frees the prisoner Rosenfeld (Dominic Applewhite) from the experimental laboratory.

In terms of narrative, far more happens on the big screen than one would expect from such a premise. Unlike in similar genre films, the characters are characters who evolve throughout the film and are faced with morally questionable decisions several times. Although the authors do not forego one or two obviously stupid plots, these are balanced out by the emphasized seriousness with which Wyatt Russell (“22 Jump Street”)Pilou Asbæk (“Ghost in the Shell”)Jovan Adepo (“Fences”)Mathilde Ollivier (“The Misfortunes of François Jane”) and their colleagues act here. They all adapt to the extremely serious setting – regardless of whether they eventually mutate into zombies or not. There is neither staging nor acting space here for the wink that has become commonplace in blockbusters and with which even the most serious scenarios are now and then interrupted. The only thing that underlines the fact that the events in “Operation: Overlord” are nonsense is the excessive showdown, in which the makers completely disregard logic and comprehensibility. The camera crew made up of Laurie Rose (“Free Fire”) and Fabian Wagner (“Justice League”) dresses the whole thing in dark, apocalyptic images in which the violent escapades, which could have been a bit more brutal, take place. The threat is particularly evident here due to the oppressive confines of the church’s catacombs, which have been converted into a research station, where the next horror discovery could lie around every corner. Meanwhile, composer Jed Kurzel is taking care of things (“Macbeth”) the film with a hammering soundtrack that drives the action forward particularly furiously, especially in the action scenes.

Conclusion: The first half of “Operation: Overlord” is a harsh war thriller, which in the second half finally mutates into an infernal Nazi zombie fare, which, despite its far-fetched premise, always remains just so serious that the grandiose-looking monsters develop a real threat.

“Operation: Overlord” can be seen in USA cinemas from November 8th.

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