A supernatural, body horror take on an American D-Day mission to disable a Nazi comms tower, “Overlord” opens with a thrilling faux-one take drop from an airplane into the frenzy of war. From there it shrinks into setting up requisite war movie archetypes for its quickly-dropping cast of characters. It perks up when the supernatural element comes into play, as the comms tower the soldiers plan to disable turns out to house Nazi horrors in a more literal sense.
The movie makes smart use out of what amounts to the same few sets essentially, doing what it can to modulate circumstances and tension. The cast embody their archetypes well, the body horror is quite well-realised (if anything I wish the film had doubled down on the more absurd realisations of it), and everything is handled in a self-aware way where a tight grip on tone is held. Good fun. Three syringes and not quite a dog.