‘Onslaught’ Review: A Violent, Brilliant, Blast From the Past
Adam Wingard’s ‘Onslaught’ proves that old-school finesse is still within the realm of reason, blending all the right elements of classic genre hits with the mastery of today.
When was the last time you watched an older film and thought to yourself, where did that magic go? With the advent of digital shortcuts and a loss of precision with large-scale blockbusters, the need to look back on classic genre hits feels more applicable than ever. However, every so often, a film will emerge that has me questioning how its release is even possible in our current day and age. Adam Wingard’s ‘Onslaught’ is one of those films. Combining a simple story, tight runtime, and masterful aesthetics, the film feels reminiscent of genre hits from the 80s. Put it all together with an eclectic mix of characters, and you have one hell of a good time at the movies.
The film follows Celeste (Adria Arjona), a U.S. Army veteran and now-divorced mother who acts as the operator of a trailer park in the New Mexico desert. Beyond her living space, however, is a secret military base conducting experiments to breed a new batch of merciless super soldiers. That experiment, evidently, goes awry, and the fleet of killers is unleashed on the town beyond the site, leaving Celeste to fight for both herself and her daughter. Onslaught tackles such a story with one goal in mind: chaos. Guns are blazing before the film’s title card drops, giving audiences a tease of what mayhem is to come. Its pacing is meticulously crafted, filling the 92-minute runtime with as much action as possible, and leaving no room for narrative fatigue or boredom. The story is simple to follow but ultimately incredibly rewarding for audiences, leaving a lot to appreciate throughout. Any lesser filmmaker would have taken this concept beyond two hours, but Adam Wingard and writer Simon Barrett understand how to keep an audience engaged without overextending their welcome.
Now, does a simple story mean simple characters? In the case of Onslaught, that couldn’t be further from the truth. Our protagonist, Celeste, is a complex and riveting character. Portrayed beautifully by Adria Arjona, she is tough as nails but tender when it comes to what matters to her. Her history in the war and how it affects her current life were incredibly well-balanced, leaving her character feeling more real than over-stylized. Her story with her daughter, Daisy, is at the forefront, and is also another remarkable addition to her depth. Celeste’s soft side having to take a seat in the face of danger is where Arjona’s performance really shines. Beyond our lead, the film truly excels with its gallery of outlandish supporting characters. Dan Stevens and Drew Starkey play what I can only describe as characters ripped from an Adult Swim series. Stevens’ Hans Kemmler is a freakish Nazi doctor hellbent on perfecting his specimens, and from his first second on screen, is introduced as a complete and utter lunatic. Starkey, however, plays a U.S. government agent plucked from an indulgent night out to clean up the soldiers’ mess. Their quirks make for really fun performances, with both characters captivating the audience every time they were on screen. It’s also important to note that Eric Wareheim (Tim and Eric Awesome Show, Great Job!) absolutely steals the show as Kovacks, a cowardly resident of the trailer park.
From a technical standpoint, Onslaught really stands out from a lot of other films this year for a few reasons. Its cinematography and choice of shots are really among the best of the year. Shot beautifully by Oren Soffer (The Creator), the film makes great use of familiar spaces and natural lighting to create depth within the frame. Deep focus, dirty frames, and a rich color grade are put together to make for a gorgeously-crafted film. The set design is also quite extraordinary, with spaces feeling either naturalistic or surreal depending on the scene. That dichotomy really works to elevate both the story and the performances, playing into the feelings evoked by a scene’s respective space. Furthermore, the film’s score is almost certainly the technical standout. Emulating the early works of John Carpenter (the whole film can be categorized this way), the score’s synth-heavy electronic nature lays out a wonderful atmosphere throughout the film. Composed by Matthew Pusti, the score's old-school feel acts as the perfect backdrop to a film reminiscent of the genre films that inspired it.
I could go on forever about how much I loved Adam Wingard’s Onslaught. From its story to its cinematography, the film really feels like a completed vision, taking its simple story to the furthest possible lengths. The film is a mean, violent, and fun old-school romp through the desert. It is as much a feast for the eyes as it is a feast for the ears, and is something you should absolutely see when it hits theaters on September 4th.