A few weeks ago, I went to see the movie Overlord. Haven’t heard of it? Yeah, I don’t think many did. Pretty good. Maybe check it out when it hits Netflix. If you like action-horror at all.
The film begins as a fairly standard—relatable but not particularly powerful—WWII film. Partway through however, it transforms into a body-horror strewn monster movie. Usually such genre transformations found left to crappy B-splatter films, but since this was a Bad Robot production, I thought I’d give it a go.
As I said, pretty good.
One thing that stood out, was Overlord didn’t fetishize its transition between genres. It didn’t obsessively focus on it as the crux of the narrative; it was just the path it took. Which got me thinking. A lot of movies really do hyper-focus on one specific piece of their structure. Or an aspect of one of their characters. Or another specific element that is highlighted as important beyond all else. The best word I can think to describe this is: fetishization.
I think there’s a lot to talk about in how we fetishize elements of the stories we both tell and consume. I decided I’d like to explore this in a post one day. But not today. Then I thought I’d do a comparison between Overlord and the 1996 film From Dusk Till Dawn, which shares this two-part structure but absolutely does fetishize the transition.
So I re-watched From Dusk Till Dawn.
THEN I decided, instead of a dry old compare-and-contrast, it would be much funner, just to live-blog the movie.
So that’s what I did.