The director who brought you Hollow Man – a movie about a man who becomes invisible and then spends two hours of screentime leering at nude women and engaging in laughable fight scenes – has taken that basic plot structure and transplanted it into a WWII period piece.

Like his other fare, this movie is well crafted – with good sets, costumes, and special effects. The actors are believable – especially because the movie is primarily in Dutch and German (with English subtitles) rather than the usual anachronistic Hollywood fare where the Third Reich communicates in fluent English (with but a minor faux-German accent to establish their identity).

This film’s nudity and gratuitous sexuality titillate but also reach absurd proportions – such as the wanton sexuality in the pouring-feces-on-nigh-naked-woman scene. Some plot devices – such as the trite ‘blueprints of the Nazi HQ’ or the cliched Hollywood battle scenes evoke James Bond more than a WWII period piece.

Ultimately, there is much to like about this movie – including the way that it indicts the Canadian military liberators of the Netherlands for allowing the Germans to continue their politically-motivated executions post-liberation. It is captivating to see a film where the Nazi is a good guy and the resistance freedom fighter is the one in the wrong.