What do you get when you toss Wolfenstein, John Carpenter’s The Thing, Saving Private Ryan and possibly the most blatant amounts of historical inaccuracy into a blender? You get a feverishly insane, ridiculously ultraviolent, revisionist war horror, schlock-fest that is Overlord. It could easily be dismissed as exactly the kind of unapologetically gruesome and tasteless B-movie pulp that a 14 year-old version of me would call a ‘masterpiece’. But in an era where most action productions are shackled to grand executive franchise aspirations, a schlocky revisionist war film about horrific Nazi experimentation with a simple beginning and an end and no loose ends to be tied up in a sequel or big-budget franchise feels like a breath of fresh air.
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