HomeNetflix’s Army of Thieves Review – The Hollywood Reporter

Netflix’s Army of Thieves Review – The Hollywood Reporter

The zombie apocalypse is still in its infancy, and it’s only hinted at in news reports from distant Nevada in Netflixprequel to Zack Snyder‘s army of the dead. One of the most amusing characters in the blood feast in neglected Las Vegas was German cupboard-breaker Ludwig Dieter, played by Matthias Schweigover with a mixture of clever skill and screaming that often raised the question “Gay or European?” The answer is presented in a shy romantic thread in thieves army, which brings back Schweigover, this time as director and star in a heist adventure dealing with three of the most impenetrable vaults ever.

written by army of the dead Co-writer Shay Hittin From a story he developed with Snyder, the prequel is a triumph of nerd wit that traces how an awkward bank teller known as Ludwig got his start in a very serious crime. The creative team acknowledges a debt to italian jobBut while the new movie represents a definite shift in genres, it also meshes with its predecessor in enough ways to make it part of the same burgeoning franchise. (There is a sequel to the first movie in the works, along with a prequel anime series called Army of the Dead: Lost Vegas.) A couple of patterns here help tie the knot.

thieves army

bottom line

The set cracked, even with a few wrong clicks.

date of publication: Friday, October 29
spit: Matthias SchweigoverAnd Natalie EmmanuelRobbie OV, Stuart Martin, Jose Khan, Jonathan Cohen, Noemi Nakai
Director: Matthias Schweigover
screenwriter: Hittin tea. A story written by Zack Snyder and Hatten, based on the characters created by Snyder

2 hours and 9 minutes

Schweigover, who has extensive on-screen and behind-camera credits with commercial successes in Germany, shows a keen attention to detail and an eye for the architectural and design quirks of Old World Europe, which in early scenes from his debut in English directing, Wes Anderson sometimes recalls. His fascination with the intricate mechanics of high-security lockers—the intricate network of internal locks, gears, pins, tumblers, and breathing like living things—has at times echoes of Martin Scorsese’s watch studies. Hugo. The storytelling is generally less complex, often leaning toward tense humor, but this is great, fun entertainment.

Ludwig, or Sebastian Schlencht-Wöhnert, according to his birth name, doesn’t have any followers on YouTube but posts videos seriously about his passion for safe hacking. The film opens with a fairy tale “Once Upon a Time” about Hans Wagner (Christian Steyr), a Munich locksmith who is devastated by the tragic death of his wife and child. While still in deep mourning, Hans threw himself into his greatest work, four vaults inspired by every opera stage in the world. Episode cycleHis name is Richard Wagner.

The biggest and most difficult of these projects, the Götterdämmerung, was the massive bunker that the diverse crew targeted at the army of the deadLocated in the basement of the Sen City Casino in the heart of the zombie invasion. The remaining three vaults, the Rheingold, Valkyrie and Siegfried, are believed to be in Europe, and their exact whereabouts is unknown. Or at least they’re there until internationally wanted jewel thief Gwendolyn (Natalie Emmanuel) recruits Sebastian to complete her heist team, with her spy tracking the locations of the vaults to Paris, Prague and St Moritz, Switzerland, respectively.

Much of the early humor comes from the psychedelic gloom of Sebastian’s existence, borne by the complaints of Krabi Bank customers and eating a sad sandwich alone every day on his lunch break in a cobbled alley in the rain. So when Gwendolyn gets a taste of adventure and excitement, after anonymously testing his skills at an underground underground hacking competition in Berlin, he is quick to bite. “A less ordinary life,” she calls it, which appeals to the part of Sebastian who desperately wants to be quiet.

He meets the rest of the crew – pirate Ace Corina (Ruby OV), getaway driver Rolph (Jose Khan) and “real live-action hero” Brad Cage (Stuart Martin) – and learns that the degree of difficulty will increase with each safe. Given international security concerns about a zombie outbreak in America, the safes must be removed and taken out of service, and they only have four days to resolve them.

The storytelling is fast-paced and fun, with editor Alexander Berner using plenty of napkins, smashing bits, screen graphics, and a slow, fast Snyder-esque movement to shake the pace, along with the exhilarating score of Hans Zimmer and Steve Mazzaro that turns suspenseful at the right moments. Various movements of Wagner’s operas are used schematically, which Sebastian plays on his mobile as he works on each safe.

Schweigover finds intriguing notes of comedy in Sebastian’s encyclopedic knowledge of Norse mythology that inspired Richard Wagner, which he insists on explaining to Gwendolyn as he fiddled with the disc, caressing each safe like an act of love. He gradually reveals his nervous romantic feelings for Gwendolyn, which were complicated by a rivalry with Brad, a predatory jerk whose supposed name is a mix of his Hollywood idols, Brad Pitt and Nicolas Cage – one of a few descriptive references to the film’s lore.

The team’s race against time and efforts to evade detection become more difficult once Interpol picks up its nose at a long-running investigation led by French officials Delacroix (Jonathan Cohen) and Beatrix (Noemi Nakai).

The biodynamics of the early action loses some energy once the heist crew is broken, and screenwriter Hatten’s attempts to incorporate some of Wagner’s themes, such as the corrupting influence of money and power, feel adequate. The movie works best as a breezy criminal grave. The supporting characters could also use more dimensions, with the initial promise of Corinna and Rolf, in particular, dashed somewhat once the focus tightens on Sebastian and Gwendolyn.

In the last role, Emmanuel (Missandei on game of ThronesShe brings a confident charisma and handles herself convincingly in some of the donkey fight scenes. Gwendoline is a rich girl with a rebellious streak who is more interested in becoming a legend in the underworld than she is in money. Even if their chemistry is stronger, the temporary attraction between her and Sebastian is well played as they share the details of each other’s lives, including the origins of his fixation on safety and his alter ego that eventually became his new name. Schweigover balances subtlety and wit in his character, making him a likable pioneer, with each success nurturing a new, impulsive spirit.

The layout becomes less creative as the story progresses, and attempting to insert influential notes into later developments is almost unsuccessful. But the director keeps his foot on the accelerator, particularly in action scenes like the unbridled chase with Sebastian on a bike through the streets of Old Town Prague. And the winding Swiss Alpine roads at their climax offer splendid grandeur, adding to the tension with Sebastian’s attempt to open the most challenging vaults in a moving vehicle.

In terms of craftsmanship, the film benefits from typically polished German production values, particularly DP Bernhard Jasper’s graceful photography work and bold use of saturated colour. This is a great movie, and while the script isn’t completely airtight and some of the comedy is extensive, its brilliant sense of fun keeps things going along even the coda that connects the story straight to the point. army of the dead. Even if this previous version was completely different and ditched in blood, fans of the first movie should find it a distorted addition.