For viewers who seek risk-daring thrills by cars, Overdrive should satisfy genre cravings over the weekend. For those looking for a brilliant car heist, Overdrive might require more than what it presents within 96 minutes.
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There is so much that a film can do to raise the stakes involved in exquisite car heists. It begins with two half-brothers proclaiming themselves as the best in the business. Said brothers find themselves stealing between two influential figures – one a mobster and the other a family business heir. After numerous car chases and party scenes in Côte d'Azur, the brothers not only escape unscathed but also end up owning both ends.
It could have well been established as a film where new age bright talents readily outsmart dated leading corporate and underworld figures. Overdrive is however produced by names like Pierre Morel (who directed Taken in 2008) as a genre film revolving around an obsession with rare vintage cars like the Bugatti Type 57 S Atlantic and the 1962 Ferrari 250 GTO.
The screenplay by Michael Brandt and Derek Haas wraps around said premise and tries to instill clever plots that are coated by genre deliverables. Director Antonio Negret’s (who directs mostly television productions) car chases set in the French Riviera are thrilling to sit through, which are also often featured with extended sequences of cars zipping past traffic and obstacles.
The opening title sequence is made to look like music video visuals along with a pulsating soundtrack throughout the entire film that works well to keep the film’s pace and viewers’ hearts racing (albeit a little too industrial for liking). At this point, everything looks set towards targeting younger audience members but getting characters risking their lives over vintage cars is a peculiar choice.
This comes especially when car heist movie franchises like Fast and Furious are dominating the genre scene. Perhaps it’s an attempt to reimagine and provide fresh elements to keep viewers interested – but the ability for today’s tech-savvy youth to connect with cars featured in Overdrive remains a mystery.
Scott Eastwood plays central protagonist Andrew with an acceptable performance range that can use some further evoking of raw emotions. His chemistry with his co-star Freddie Thorp makes some good moments that is unfortunately hindered by thinly-scripted lines.
“Trust, you can buy with money. But respect can only be earned”. A powerful (and cheesy to a certain extent) line like that exchanged at facial distance with a menace-looking antagonist Max Klemp (Clemens Schick) makes one feel good and proud of Andrew. But one cannot help but wonder how did Andrew walk out peacefully out of Klemp’s residence.
Female characters like Andrew’s girlfriend Stephanie (Ana de Armas) presents balanced likeable personalities but sadly squandered by low lines like “You’ve got to let me in. All the way in”.
For viewers who seek risk-daring thrills by cars, Overdrive should satisfy genre cravings over the weekend. For those looking for a brilliant car heist, Overdrive might require more than what it presents within 96 minutes.
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