In Julius Avery’s Overlord (2018), the Nazis in occupied France have discovered something or other in a church that, once refined by their super-science, turns corpses (and pieces of corpses) into Übermenschen. If the movie spells it out, I missed it, but I can take a stab at what they’re shooting up with.
This is a fine-looking film with some budget behind it, most of which went to the combat scenes. The horror comes late and doesn’t hang around long, opting instead for a super-villain plot like something from the first Captain America movie. But for a few fleeting moments during the climax, the movie shows us glimpses of what might have been had it gone in a purer direction. For every dead thing that stands up again, we could have done with a dozen more.
Jovan Adepo’s Private Boyce anchors an ensemble cast from some if-only best possible universe where black commanding officers and integrated combat units spit fire at the sneering master race.