There’s nothing especially nuanced or unique about the message “Nazis are evil & gross and must be destroyed,” but in the context of 2018’s political climate it still fees damn good to hear. This is especially true when said Nazis are shot, set aflame, and exploded in an over-the-top action spectacle that cares way more about cathartic fun than it cares about historical accuracy. Overlord opens as an immersive WWII battle demo; it operates like a dirt-cheap Dunkirk in its earliest stretch, where a group of American soldiers are deployed in France to take out a contingent of “rotten son of a bitch” Nazis occupying a local church. That introduction is just a coverup for an entirely different kind of well-budgeted schlock, however: a Nazi zombie movie with a distinct video game sensibility. Neither the WWII thriller nor the Nazi zombie action-horror descriptors fully capture how distinctly fun & cathartic Overlord can be as a middle finger to modern Nazi grotesqueries, which is always a good sign for a genre film repeating narrative patters we’ve already seen many times before. We may be living in a word where war thrillers & zombie pictures are all too plentiful, but there can never be enough condemnation of Nazi scumbaggery.
Two of the earliest introduced POV characters in Overlord are black & Jewish American soldiers preparing to parachute into German-occupied France, even more terrified of Nazis that their fellow troop members because of their ethnographic identities. They later join forces with a local French woman who has suffered Nazi tyranny in prolonged, horrific ways and skeptically aids the Americans’ mission to destroy a Nazi communication tower in her small town’s church. The demographics of those POV characters help distinguish Overlord from the doldrums of a generic war picture just as much as the supernatural phenomena they find in that church. Likewise, the church-lab’s experiments to reanimate corpses to create a “thousand-year army” for Hitler that they uncover is far from the Nazi zombie tedium of the Dead Snow series. This is partly because they’re not the typical Romero-style zombies who stumble around craving “braiiiiins,” but are instead styled after the Re-Animator tradition of botched science experiments that play loosely with the boundaries of undead lore. Neither side of this war/zombie divide should play fresh in a modern genre picture, especially one so simply structured like a video game – where each challenge feels like a level to be defeated on the way to the Final Boss (a Nazi monster so jacked on Evil-Science serum that he resembles the version of Bane from Schumacher’s Batman & Robin). Overlord pulls it off spectacularly, though, if not only in its prioritizing of modern anti-Nazi sensibilities over all logic & responsibility to history.
It’s arguable that there’s no need to reinterpret Nazi history though genre film sensibilities, since sci-fi & horror require an exaggeration of something so inherently evil that a metaphor would only cheapen it. That might be why Overlord was so cautions about anchoring the war half of its narrative to real-life atrocities – including systemic genocide, “scientific” torture, and widespread sexual assault – before moving on to the paranormal grotesqueries of its zombie half. Its horror film impulses are often kept at bay, then, but when they are allowed to flood the screen they arrive full-force. This isn’t exactly a gore fest, but it is often incredibly gross – mixing CGI & practical effects to make sure Nazis look as vile & monstrous as possible through a B-movie lens. Once-human figures dangle in fleshy sacks from the church-lab’s ceiling, filtering jars of red & black goo through their barely functioning organs while breathing heavily in pain. Severed heads gasp for air and ask for immediate relief from their mortal coil. Flesh melts; faces cave in; bullet wounds gush untold gallons of hot, sticky blood. Real-life Nazis are gross & worthy enough of destruction without the help of schlocky exaggeration, but just in case you’re not fully convinced (as seems to be the case with young Alt-Right recruits online) Overlord takes giddy pleasure in spelling it out for you.
There may be a secondary theme in Overlord about knowing when not to follow orders if it prevents you from doing what’s right (as the mission of destroying the communication tower is meant to take priority over destroying the zombie-filled church lab) but there’s nothing about that message than can trump the simple pleasure of watching gross, “rotten son of a bitch” Nazis get blowed up real good by the people they hurt the most. Overlord is not the year’s most thoughtful or nuanced genre film take on real-world evil racist institutions that have recently made an alarming comeback (that would be BlacKkKlansman). However, it does easily achieve the Herculean task of making zombies interesting again in a post-Walking Dead cultural climate by relying on a simple truth: Nazis are evil & gross and must be destroyed. In 2018, there’s immensely satisfying entertainment value to be found in watching that destruction, especially in an over-the-top action horror context.