Synopsis: In an effort to aid the coming forces for D-Day, paratroopers are sent to destroy a vital radio tower, but find true horror below.
• An overall effective genre mixing of war, horror, and berserker zombies.
• The allusions to prior war and horror films were implemented well enough, while the zombies were essentially lovecraftian, like in RE-Animator. The visuals were genuinely chilling at times.
• The old-school title sequences referencing old war films news reels effectively threw the viewer off to how the film ultimately goes, not unlike 1958’s The Blob opening sequence.
• The cast played their familiar roles with as much finesse as brutality.
• While the heroes and villains were clear, the line was effectively burred by the end.
• The war side of the film was effectively portrayed, showing what some war films try to make us forget: war is a horror story.
• Like in comedy-horror, this war-horror tended to lean more toward one side of its dual nature: war.
• While the gore-filled visuals were more than sufficient for the story, the film did not seem to go far enough with the more wild nazi experiments depicted in the film.
• At times it felt as if there was a dark backstory to the zombie-making substance the film did not fully want to expand upon.
It’s hard to be a good man in bad war. We cheer for the Americans, but we found ourselves cheering at times simply because they were somehow still better than the nazis. Indeed, series like The Punisher also wanted the viewer to cheer for that same brutality slowly destroying everyone it touches for the sake of showing us how destructive it can be. In Overlord, we see that old trope of nazi experiments effectively applied via a natural expansion of that destructive brutality. Sure, the nazi’s probably never tried to make zombie soldiers, but perhaps that’s all those real-life experiments ever were: brutality-fueled psychopathy. It was a very primal horror the film toyed with. It was a horror that may still be very real in humans.
Rotten Tomatoes — 81%