Welcome to the latest edition of Making the Grade - a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for the indie horror Green Room.
Green Room - directed and written by Jeremy Saulnier; starring Alia Shawkat, Imogen Poots, Anton Yelchin, Patrick Stewart.
WARNING - SPOILERS BELOW
CHARACTERS: B+
Some movies with ensemble casts don't bother with character development, but Green Room is different. For a big chunk of the movie, eight people are trapped in a small room, and while the action is intense, the audience doesn't get lost with who is who. We identify with the characters, specially the members of The Ain't Rights, and we want them to survive.
However, Darcy is probably the best character. He gives out orders to his hooligans with such calm and collectedness that we smell how dangerous he is. This man has done many "clean-ups" before and he gets away with it.
He is the perfect villain.
ACTING: A
It is no surprise Sir Patrick Stewart slays as Darcy, the leader of a white supremacist group. He is manipulative, powerful, and extremely creepy. But then again, we all know the man can act. Anton Yelchin and Alia Shawkat are also amazingly believable as members of the struggling punk rock band The Ain't Rights. As their day takes a turn for the worse, they behave as most of us would if we were trapped by Neo-Nazis: they make mistakes, they get hurt badly, they cry, they are terrified.
Imogen Poots is also fun as Amber, the slightly deadpan semipsycho member of another band. She delivers one of the most gruesome scenes in the movie, and her acting matches its intensity like a glove.
Nobody does a poor job in Green Room. This is the first movie Saulnier did not shoot himself, since he wanted to focus primarily on the actors and their performance. A winning choice.
VISUALS (FX, MAKEUP, COSTUMES, SETS): A
This movie is rich in texture. The sets are gritty, dirty, and completely authentic to the point it seems we are truly in an underground skinhead infested warehouse. The costumes are also perfect, but what truly shines in this category is the special effects.
The wounds and blood work in this movie is mind blowing. It is visceral, extremely realistic, and not for the weak. We are talking about gunshot wounds to the head, lethal dog bites to the throat, machete slashes and a lot more. It was delicious.
MUSIC & SOUND: A-
The music is as intense as the action in this movie. The soundtrack is filled with hard rock songs, some of which are original, and others are punk classics like Dead Kennedys's "Nazi Punks Fuck Off." It fits the movie, and you don't have to be a screamo fan to appreciate it.
TONE (ACTION, ROMANCE, COMEDY): A
This thriller-action-horror movie is an adrenaline rush. With a few jump-scares, this movie shines with its tension building and psychological warfare.
ACTION: Get ready to have your heart racing. The action in this movie is not for the weak, since it is covered in blood and gnarly wounds. You won't be seeing car chases, but you will get machete fights, dog attacks, bones breaking, and plenty of guns.
COMEDY: There are some moments of light comic relief like most horror movies, but no laugh-out-loud beats.
ROMANCE: No romance whatsoever in this movie. Thank the gods. The story doesn't ask for it or have room for it, so it was refreshing to see the director didn't try to force something odd down our throats.
FINAL GRADE: A
Green Room is quite possibly one of the most original indie horror movies to date. With rich aesthetic and interesting character development, it is hard not to appreciate this movie even if you are not a horrorphile. However if you are not used to extreme violence, this movie might be hard to watch. The special effects makeup department delivers amazingly realistic wounds and deaths and director Jeremy Saulnier makes sure you are at the edge of your seat the whole entire time. It is tense, gritty, and dirty. It was close to perfect and this Fangirl thinks you should watch it.
Hey, hey, hey, Dacetacular nation! Check out episode 145 of The Dace Man Show with hosts The Dace Man, Frank Ward, Gibby, and Travis Goss!!
::SPORTS NEWS::
The NHL, MLB, NFL, and our favorite: curling!
::WEIRD NEWS WITH GIBBY::
Gibby brings the class to the show with weird things going on in the world!
::FRANK'S CORNER::
Frank-tastic facts for your everyday life
::CELEB NEWS::
Dace is back, and he's packing a punch since he's on some diet pills and Red Bull. Get ready Hollywood!
Plus the occasional game ofWho Said It, the crowning of The Doucebag of The Week,and much, much more, only on The Dace Man Show.
As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course,the Dacetacular, grab a beer—and in this case a comfy seat in front of your computer—and check out what's going on here in the Dace-Sphere. See ya next time!
Listen live to The Dace Man Show every Tuesday at 8 p.m. EST on Mega Powers Radio.
We're back with another unboxing video, this time from SuperGeekBox.com. Their theme for March 2016 is Lightning, focusing on characters like Sonic the Hedgehog, Pikachu, The Flash, Superman and others..
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Thanks again to Super Geek Box for sending this our way!
Episode 27 of the Fanboys Anonymous Reviewpoint podcast reviews Batman v Superman: Dawn of Justice.
Hosted by Tony Mango joined by Caroline Oliveira and Shaun Walker
You can check out the podcast below on YouTube, iTunes, and Stitcher. Make sure to subscribe!
Fearing the actions of a god-like super hero left unchecked, Gotham City's own formidable, forceful vigilante takes on Metropolis's most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it's ever known before.
Directed by: Zack Snyder
Written by: Chris Terrio and David S. Goyer
Starring: Ben Affleck (Bruce Wayne / Batman), Henry Cavill (Clark Kent / Superman), Amy Adams (Lois Lane), Jesse Eisenberg (Lex Luthor), Jeremy Irons (Alfred Pennyworth), Holly Hunter (Senator Finch), Gal Gadot (Diana Prince / Wonder Woman), Jason Momoa (Arthur Curry / Aquaman), Diane Lane (Martha Kent), Scoot McNairy, Ray Fisher (Victor Stone) and Laurence Fishburne (Perry White)
Welcome to the latest edition of Making the Grade—a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for the latest film in the DC Extended Universe film franchise, entitled Batman v Superman: Dawn of Justice.
Fearing the actions of a god-like super hero left unchecked, Gotham City's own formidable, forceful vigilante takes on Metropolis's most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it's ever known before.
Directed by: Zack Snyder
Written by: Chris Terrio and David S. Goyer
Starring: Ben Affleck (Bruce Wayne / Batman), Henry Cavill (Clark Kent / Superman), Amy Adams (Lois Lane), Jesse Eisenberg (Lex Luthor), Jeremy Irons (Alfred Pennyworth), Holly Hunter (Senator Finch), Gal Gadot (Diana Prince / Wonder Woman), Jason Momoa (Arthur Curry / Aquaman), Diane Lane (Martha Kent), Scoot McNairy, Ray Fisher (Victor Stone) and Laurence Fishburne (Perry White)
WARNING - SPOILERS BELOW
STORY: A+
Basically, it's exactly what you expected from the trailers with no real surprises, but that's okay, cause the story works. It's a little thin in some areas, but since the movie is long, I'm expecting some of those elements to have been fleshed out more in deleted scenes. This movie had a cram a lot in it, and it could have been much more disjointed than it was, so I think they did a fine job balancing things out.
Batman's cynicism that he needs to stop Superman before he becomes the threat he could potentially be is totally within his character, as is Lex Luthor's jealousy and how everything comes together. I'm a big fan of how Lex was looking into the other metahumans and how that brought Wonder Woman into the fold, which allowed her to catch up to speed rather quickly. This is pretty much what I was hoping the movie would be when it was announced, outside of some details that I would have changed.
CHARACTERS / ACTING: B
This Batman is probably my favorite interpretation on the big screen now. He just kills this role both in the cowl and outside of it. Unfortunately, he also kills other people, which is totally against what Batman's code is. However, I was paying attention as closely as possible, and the majority of those times, Batman isn't actually killing someone. At times, though, it's hard to argue that he wasn't just firing bullets for the pure sake of permanently disposing of that particular enemy. As much of a Batman fan as I am, that bugs me, but since there wasn't a scene of him flat out murdering someone like back in the Tim Burton era, I'm willing to let it slide a bit. I was worried they were making him too old, but that didn't seem to be a factor, so I'm glad about that.
Superman is much more "Superman" than he was in Man of Steel, thankfully. Henry Cavill didn't have to change much about his portrayal, but the script needed to put him in the right direction to pull it off, and he did. I'm excited to see how he takes Clark to the next level in the future.
Wonder Woman was a surprise. Gal Gadot did a good enough job that I'm sold on her, although she was kept to a minimum in a lot of scenes, so it will be interesting to see how she handles more dialogue and character work than what happened here. I don't think she's the standout like others have said, but she worked.
I still don't like the casting of Amy Adams as Lois Lane. Really, that's all I dislike about that whole character from the first film and this one, and I think a different actress who is younger and has better chemistry with Cavill would do it better service, but I think she was a step up.
Jesse Eisenberg as Lex Luthor wasn't as bad as I was expecting, but he still just was the wrong direction. This is 75% Lex Luthor and 25% "do you even know who Lex Luthor is?" I maintain that someone else who resembled the character more on a physical level should have been cast. Why is he not actually bald, too? Why do we always have a Lex with hair when the character is iconic for being bald? He isn't even permanently rendered bald in this, as they just shave his head! So dumb. I didn't hate this version of the character as much as I thought I would, but that doesn't mean I love it, either.
Speaking of that theme, Doomsday fits a similar mold. He shouldn't be radiating pulses of energy and he should have had more spikes. Bizarro could have been just as good of a villain, where he would be the corrupted version of Kal-El if they had used the birthing chamber (and Lex manipulated it for his purposes, of course) and it would have fulfilled a similar role in the movie. I'm okay with this version of Doomsday, but I'm also a little disappointed in it as well.
The Flash looks dumb. Ezra Miller was not the right choice. What's up with the facial hair and that armored suit?? Ridiculous.
Aquaman....meh. Kind of cool for a character I don't like. I've never liked how Cyborg is given such a big push with the Justice League and we're getting him but no Green Lantern, but his cameo was decent. KGBeast, cool. Mercy Graves was cool. Perry White was better this time around, as was the characterization of Jonathan Kent.
By the way, having Batman and Superman connect over the fact that their mothers are both named Martha? Some are probably going to think that's ridiculous, but I loved it.
As far as characters and acting goes, major points for Superman, Batman (minus the killing), and Wonder Woman, but points deducted for Lex Luthor and Doomsday as well as The Flash and Amy Adams.
VISUALS (FX, MAKEUP, COSTUMES, SETS): A
There's more color this time! Yay! No real complaints with the visuals on this one. The suits for Batman and Superman are the best on-screen versions so far (outside of Batman still having some issues turning his head). The special effects are on par with what I was hoping for, and none of it really looks fake. I could do without the Wonder Woman leaping forward shot being stylized the way it was, but it's not like that "bugged" me, either—it just isn't the choice I would have made. All in all, for the visuals, big thumbs up.
MUSIC & SOUND: C–
This is lacking a bit. We joked after watching the movie that every theme was basically BOM BOM BOM with drums except for Wonder Woman's, which didn't quite fit her at all in our opinion (our opinion meaning myself and 8 other people that I saw the movie with, so not just my own). I still think it's sad that we haven't had a theme for Batman that we could hum since Batman & Robin, even though I love Hans Zimmer's score for Christopher Nolan's films. This time around, I was hoping to get an actual theme and not just background mood music, but just as that happened with Man of Steel, we're seemingly sticking with the low key score.
TONE (ACTION, ROMANCE, COMEDY): B+
ACTION: Awesome in so many ways, but my favorite was Batman's fight at the end.
COMEDY: I smirked a few times, which is more than I was expecting. One or two more legit laughs wouldn't have hurt the movie, though, and I can see why some people are saying it's too morose.
ROMANCE: I still don't buy into the chemistry of Amy Adams with Henry Cavill, but their relationship was handled much better this time. There weren't any other romantic plots in this movie, so some points are docked.
FINAL GRADE: B+
This is FAR better than what I expected it to be, as I was nervous it would annoy me as much as Man of Steel did, but I ended up loving the majority of it. I think it's a fun ride that has a few bumps along the way, where my biggest issue is that they made some of the wrong choices with the direction they were going with the characters—namely this version of Lex and how they weren't more careful with Batman and his code of ethics as well as the look of Barry Allen. This made me more excited about the future of these films than before, and as long as they don't do something stupid like kill Dick Grayson off as the dead Robin or make Superman evil when he comes back from the dead, I think I'll enjoy Justice League.
WHAT DID YOU THINK OF BATMAN V SUPERMAN: DAWN OF JUSTICE?
On the latest edition of Minute Man Reviews hosted by Tony Mango, Batman v Superman: Dawn of Justice is given as full of a review as possible in under 60 seconds.
Check out the video below and be sure to subscribe and leave your comments on what you thought of Batman v Superman: Dawn of Justice!
Fearing the actions of a god-like super hero left unchecked, Gotham City's own formidable, forceful vigilante takes on Metropolis's most revered, modern-day savior, while the world wrestles with what sort of hero it really needs. And with Batman and Superman at war with one another, a new threat quickly arises, putting mankind in greater danger than it's ever known before.
Directed by: Zack Snyder
Written by: Chris Terrio and David S. Goyer
Starring: Ben Affleck (Bruce Wayne / Batman), Henry Cavill (Clark Kent / Superman), Amy Adams (Lois Lane), Jesse Eisenberg (Lex Luthor), Jeremy Irons (Alfred Pennyworth), Holly Hunter (Senator Finch), Gal Gadot (Diana Prince / Wonder Woman), Jason Momoa (Arthur Curry / Aquaman), Diane Lane (Martha Kent), Scoot McNairy, Ray Fisher (Victor Stone) and Laurence Fishburne (Perry White)
Hey, hey, hey, Dacetacular nation! Check out episode 144 of The Dace Man Show with hosts The Dace Man, Frank Ward, Gibby, and Travis Goss!!
::SPORTS NEWS::
The NHL, MLB, NFL, and our favorite: curling!
::WEIRD NEWS WITH GIBBY::
Gibby brings the class to the show with weird things going on in the world!
::FRANK'S CORNER::
Frank-tastic facts for your everyday life
::CELEB NEWS::
Dace is back, and he's packing a punch since he's on some diet pills and Red Bull. Get ready Hollywood!
Plus the occasional game ofWho Said It, the crowning of The Doucebag of The Week,and much, much more, only on The Dace Man Show.
As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course,the Dacetacular, grab a beer—and in this case a comfy seat in front of your computer—and check out what's going on here in the Dace-Sphere. See ya next time!
Listen live to The Dace Man Show every Tuesday at 8 p.m. EST on Mega Powers Radio.
On the March 2016 edition of the FA Movie Club podcast (episode 24), Fanboys Anonymous members give their thoughts on the different Batman and Superman films that have been released over the years.
Panelists: Tony Mango (host) with Caroline Oliveira and Shaun Walker
THIS MONTH'S SET OF MOVIES:
List of Superman Films
Superman (1948)
Atom Man vs. Superman (1950)
Superman and the Mole Men (1951)
Superman (1978)
Superman II
Superman III
Superman IV: The Quest for Peace
Superman Returns
Man of Steel
Superman: Brainiac Attacks
Superman: Doomsday
All-Star Superman
Superman vs. The Elite
Superman: Unbound
List of Batman Films
Batman (1943)
Batman and Robin (1949)
Batman: The Movie
Batman (1989)
Batman Returns
Batman Forever
Batman & Robin
Batman Begins
The Dark Knight
The Dark Knight Rises
Batman: Mask of the Phantasm
Batman & Mr. Freeze: SubZero
Batman Beyond: Return of the Joker
Batman: Mystery of the Batwoman
The Batman vs. Dracula
Batman: Gotham Knight
Batman: Under the Red Hood
Batman: Year One
Batman: The Dark Knight Returns, Part 1 and 2
Batman: Assault on Arkham
Son of Batman
Batman vs. Robin
Batman Unlimited: Animal Instincts
Batman Unlimited: Monster Mayhem
Batman: Bad Blood
List of Superman/Batman Films
Superman/Batman: Apocalypse
Superman/Batman: Public Enemies
You can listen to the podcast below. Make sure to subscribe!
Welcome to the third edition of Fanboys Fix It, where instead of just complaining about what we don't like about something, we try to figure out how we can make it better. With the upcoming release of Batman v Superman: Dawn of Justice, it seems as though even the most excited fans are still holding their breath quite a bit about the film actually being good. This is due to several things making us nervous, such as the casting of Jesse Eisenberg as Lex Luthor, the look of Doomsday, the inclusion and casting of Gal Gadot as Wonder Woman and more. While all of those things factor in greatly to my concerns, the biggest thing weighing on my mind is how problematic I saw Zack Snyder's previous entry in the DC film franchise, Man of Steel.
My gut reaction to that movie when I saw it in theaters was to dislike a number of things about it, and over several years with multiple viewings, I was hoping my opinion would change. On the contrary, I still take issue with exactly the same problems I had with it from the start, which further cements the theory in my brain that they are legitimate gripes and not just minor flaws.
With that being said, how do you fix Man of Steel?
Here is a list of what I feel are the errors of the film and how I would have fixed them in a rewrite.
Core Problem #1: The Brainiac Problem
Since this movie was the start of the DC movie universe and a reboot of the Superman story, it needed to establish the world of Krypton yet again. In the past, we've seen it portrayed as a crystalline world with the old films as well as having more of a Jetsons flair in the Bruce Timm animated series. This time around, Snyder's style was a weird, sepia-toned (of course) bio-mechanical look that I personally didn't like whatsoever. I mean, what's up with those odd dragon creatures?? I would have much rather seen something similar to how Asgard was brought to life in Thor, but I'll dismiss this as not a true error of the film and more of a personal preference. I would like it better, but it doesn't improve the movie on a grand scale and if lots of people like it, good for them.
Putting that aside, though, why does this movie do its best to make things more complicated than it needed to be, and in the process, also ignore one of Superman's top 3 best villains ever?
In Man of Steel, we're introduced to this idea of the Growth Codex—a single skull that contains the genetic layout of every Kryptonian. All births on the planet are basically test tube babies and the codex is used to implant a predestination of purpose into each individual. Some are meant to grow up to be scientists, others are soldiers, and so on. The only person who doesn't fit the mold is Kal-El, cause he's a natural birth. We get the symbolism, guys. Way to hit us over the head with it.
Why couldn't the codex be Brainiac? Although the character didn't originally start out as much more than a silly name for a green and purple alien who is really smart, arguably the most widely appreciated version of Brainiac nowadays is the Brain InterActive Construct—artificial intelligence from Krypton that regulates everyday life and knowingly puts the continuation of its own existence above the Kryptonians themselves when it deems the planet doomed. Its justification is that it holds all of the records, so it's the best way of preserving the history of the planet.
First, that right there should be reason enough to tie it into the Growth Codex. It's a computer system that has all of the information! That's the same thing, but they just didn't want to call it Brainiac, cause they wanted it to be a skull instead. Hell, considering the appearance of Brainiac, they could have still kept the skull concept, but just referred to it a single, quickly passing time as "BrainIAC" and it would have tied the two together for future installments.
Second, the idea of Brainiac hoping to preserve Krypton was somehow transferred into Zod for the movie. His story is that he was predestined to be a warrior and that's all he knows how to do, and he just wants to preserve his lineage. Shouldn't Brainiac be doing that? Shouldn't Zod be more concerned with ruling the planet? It's as if they wanted to do Brainiac's story, but gave it to Zod as the vessel.
Also, look at the technology going on. They bothered to have Kelex (awesome) as a metallic, artificially intelligent nanotechnological computer system on Krypton and the World Engines have fucking tentacles! These are totally Brainiac concepts!!
If you have these elements to your story and you have a character that people love which could be used to help simplify things and make it not only easier to tell the story, but in a cooler way to please the fans, why wouldn't you do it? When you ask your GPS for directions and it tells you the quickest, easiest route, why would you rather opt to take a longer path with more detours that puts you on unpaved roads and costs you more gas?
Now, the DCEU is set up in a way where if they try to bring Brainiac into the fold, they'll be retreading on ground they've already covered. Would anyone care to see Superman fight giant machines with tentacles, or would they just claim it's a repeat of Man of Steel? How do you do a story about the preservation of Krypton and being built to serve a purpose when you've already done that with Zod?
This is how you accomplish the same basic ideas of the movie, but make it better:
When you establish Krypton, you talk about how there's a 50/50 split between biological and mechanical. You keep the weird dragon creatures and some of the style that I personally don't like, and you chalk that up to the bio side. You also establish that the mechanical side is a product of The Brain InterActive Construct.
The governing bodies of Krypton are the council that we see plus the insights of Brainiac. They don't take sentient creatures out of the equation, but they also rely heavily on the computer system to offer guidance. Why not, considering how it has all the technical readouts and such?
A bit too much trust is put in Brainiac, though. In fact, Krypton's so dependent upon it that they've gotten to a point where no natural births have taken place in hundreds of years. When they started expanding and exploring planets, they used Brainiac to artificially inseminate the explorers and to always make sure it created beings that kept a homeostasis. This method worked so well that they applied this to the normal planet based on Brainiac's recommendations. Too many scientists and not enough soldiers? Well, the next 1000 babies will be bread to be warriors. This is also a form of population control and all of the information is stored in the Growth Codex—a skull of the oldest living Kryptonian genetic ancestor.
General Dru-Zod's mental programming is a bit off. He and many others were implanted with a sense of rebellion because Brainiac was sort of bored and also thought an element of chaos needed to be in the society to keep things in check. He starts a civil war on the planet and in the process, activates the Black Zero weapon of mass destruction, which severely messes up the planet's core.
Zod is sent off to the Phantom Zone for his war crimes and Jor-El thinks the planet is doomed to self-collapse, but Brainiac keeps assuring the council that it's okay as it's already run the calculations and has determined that Krypton is a lost cause. Instead, it's manipulation the direction of the council—who are too stupid to realize it—so they focus their efforts on preserving Brainiac rather than themselves.
Jor-El hasn't trusted Brainiac in a long time. He rewired Kelex (his personal assistant offshoot of the Brainiac infrastructure) a long time ago and Kal-El is going to be a natural birth with no influence from Brainiac whatsoever.
At the zero hour where the destruction of the planet is imminent, Kal-El is sent on a spaceship (along with Kelex) to Earth. Brainiac saves itself. Krypton explodes and sends Kryptonite throughout the universe.
Kelex is eventually used to create the Fortress of Solitude, but it doesn't have the full memory banks of Krypton. This means Brainiac can come to Earth in a sequel, pretending to be a source of good for "The Last Son of Krypton" but it really turns out to be sinister.
All of your problems are solved and you've also set up a bad ass villain for a sequel. Zod's motivations change from trying to keep his race alive to being about how he was born with a lust for power and since he can't control Krypton, he'll go after Earth. You still have the Growth Codex, you still have the natural birth symbolism, and you still have the nanotechnology and everything else.
Core Problem #2: Replacement Characters
This is going to piggyback off the Brainiac situation in the previous problem, but take it to a new level. In the previous paragraphs, I was speaking about how using Brainiac would have been a way to include a popular character and implement him in spots that made it easier to explain what was going on. Basically, they missed out on using something cool which would simplify things.
But when we talk about how it would be better to use established characters instead of making up new ones, we can stretch this even further and apply it to other people in the movie.
Remember how stupid it was to have two mutated hulking animals be the villains in Teenage Mutant Ninja Turtles II: The Secret of the Ooze only for them to not be Bebop and Rocksteady? Were you disappointed to learn that Harry Osborn would turn into "New Goblin" instead of Hobgoblin or Green Goblin II in Spider-Man 3? Did you never quite understand why The Dark Knight has a big, burly white male cop and a Hispanic female cop, but they aren't Harvey Bullock and Renee Montoya? Wasn't it cool that at the beginning of Avengers: Age of Ultron they were taking down Baron von Strucker instead of a brand new character named something like General Smith?
The same thing happens in this film.
If you were to name the three most important people in The Daily Planet who are supporting characters in the Superman lore, wouldn't it be Lois Lane, Perry White and Jimmy Olsen, not Jenny Jurwich? Why was that character there instead of Jimmy Olsen? I would have been okay with it if Jenny died in the movie (to help up the stakes) and was replaced in the sequel with a young intern named Jimmy Olsen, but that wasn't the case, as Jenny didn't die. If they desperately wanted the Jimmy Olsen character to be a woman, why not just reinvent it as Jenny Olsen like we all speculated? It's not like reinventions can't work if done well. Look at how positive the reception has been for Carrie-Anne Moss being Jeryn Hogarth in Jessica Jones—nobody's bitching about that. Jenny Jurwich served no purpose in the movie at all other than to not be Jimmy Olsen in the Jimmy Olsen spot.
They felt that we needed to have a stern military leader who survives and another member of the military who dies in a self-sacrifice. Those were General Swanwick and Colonel Hardy. Wouldn't it have given Lois Lane more to do in the script and a stronger role if it were her father, General Sam Lane, who was in charge of overseeing the Superman situation? Change the actor, twist the dialogue in the scenes between Lois and General Swanwick (now General Lane) to reflect their father/daughter relationship, and there you go.
As far as Colonel Hardy goes, there are so many people from the comics he could have been. Ignoring someone like Nathaniel Adams (since he will be used as Captain Atom later, so you want to save him instead of killing him off here), these are just a few examples of characters that would have served as better replacements instead of Nathan Hardy: Phillip Hunter or Nicholas Hunter (or Benjamin Hunter), Sgt. Rock, Ted Gaynor, Steven Savage, Horace Canfield, Bulldozer Nichols, Gunner MacKay and there are so, so many more. In five minutes of looking through this DC Wikia page, I was able to come up with these names and only got to page 4 of 15. You mean to tell me the people working on this film couldn't put in the same work?
The worst thing here, though, is Carrie Farris. It's absolutely insane and beyond stupid to name a character something so incredibly similar to another character in the DCU! Everyone keeps thinking this is Carol Ferris, which means it creates confusion for no reason whatsoever. If she is Carol Ferris, then why is her name Carrie Farris? That's like having Batman be Bruce Bayne. If she's not Carol Ferris, then why isn't her name something else? Even if you didn't want to do the research to give her a name of someone from the comics (which is lazy) you still could have just called her Carrie Jones or Amanda Gunderson or whatever and you wouldn't have run into this problem.
It looks like in Batman v Superman: Dawn of Justice, we're going to be having this same issue with Senator Finch. Holly Hunter could have been Elizabeth Alderman or Elizabeth Lawrence or plenty of other names.
Core Problem #3: Recasting
This one is much, much simpler to explain. Amy Adams is too old for Lois Lane in the 2013 Man of Steel. A few years beforehand, she could have been perfect, but even then, they should have died her hair. Lana's the redhead, Lois is the brunette. Does hair color destroy the interpretation of the character? No. But does spending $10 on a bottle of hair dye to go with the right look for the role hurt the budget of the film? If so, I would have sent them a check.
Christina Wren (Carol Ferris...I mean Carrie Farris) looks more like the character and she's closer in age to Henry Cavill. Why is Lois Lane 10 years older than Clark Kent? Some suggestions could have been Jessica Biel, Emily Blunt, Lauren Cohan, Olivia Wilde, Rachel Bilson, Odette Annable, Chyler Leigh, Sarah Shahi—again, I could go on and on with names.
If Amy Adams gave such a great, standout performance that I could ignore the age gap and the hair, that would be a different story, but she doesn't. There's absolutely nothing that she brings to the table that isn't replaceable.
I would have preferred someone younger than Michael Kelly being cast as Steve Lombard as well, for the record, just to clarify that this isn't an issue of ageism vs. gender roles.
Core Problem #4: Jonathan Kent
One of the core principles of the Superman character is that he has the power to be the most destructive force on the planet, if not the entire universe (or even the omniverse considering Superboy Prime somehow punched holes in fucking reality itself...) but because of how he was raised, he grew up to value life and not to be selfish. This is not just a genetic thing passed onto him from Jor-El and Lara Lor-Van (who in their own right, were heroic) as the nature of his familial legacy is strengthened by the nurture of his adoptive birth parents' tutelage. While Krypton is his true heritage and he comes from good stock, it is Jonathan and Martha Kent who raise him to be a good man.
Why, then, is Jonathan such a dick in this movie? He's not some horrible murderer or anything of the sort, but there are some choices in dialogue and actions that are seemingly deliberately made just to have mistakes in the movie. For example, when Clark saves everyone from the bus accident, Jonathan tells him that he can't do that as he needs to keep his powers a secret. That in itself is perfectly okay, but look at this exchange of dialogue:
Clark: What was I supposed to do? Just let them die?
Jonathan: Maybe, but there's more at stake here than our lives or the lives of those around us. When the world finds out what you can do, it's gonna change everything; our beliefs, our notions of what it means to be human...everything. You saw how Pete's mom reacted, right? She was scared, Clark.
Hold on a second. Maybe? MAYBE? Maybe your son should have just let a bus load of children die to hold off on exposing his secret and scaring Pete's mom? I'm pretty sure despite Pete being a fat little turd, Pete's mom would rather be scared of what Clark did than mourn her son's death. The "maybe" causes so many problems because all of his scenes are about him wanting Clark to keep his secret, and it flat out implies that that's more important than human life, which is contradictory to what he should be teaching him. You can literally keep everything else in the whole scene exactly verbatim for what it is and just do one quick rewrite of the line where instead of "maybe" being the answer, Jonathan says "Of course not." When your son has the power to save lives, of course he should, but he should also be careful about how people will react to these extraordinary feats.
Later on, Jonathan's death scene comes up and it reinforces this notion that the secret is more important than saving people, because he would rather spend more time trying to help people out himself than to let Clark do it swiftly. He knows that he'll be safe, since nothing can hurt Clark, and by now, Clark should also know the difference between super speed and average running. Just by his youth and how much better shape he's in, Clark would be able to run faster than Jonathan and save people easier, so nobody would question it if he didn't go crazy with it. Even if he did go full-on Superman mode and exposed himself, wouldn't it be worth it to save all those people and the dog? Hell, at this point, Superman should be able to zip by and save Jonathan at the last second from the twister and people would just see a streak that he could blame on some kind of weird weather anomaly.
It was so much better when Jonathan's death was caused by a heart attack because that was something that Clark actually couldn't save him from, as opposed to something that he could have, but was told not to, since Jonathan had a death wish. A heart attack shows Clark that not all the answers in the universe revolve around being physically strong or fast and there's a vulnerability inside that needs to be protected. Superman would have no problem with tornadoes, but how is he going to save his dad from a heart attack? He can't, and that's why he dies—not because his foot got stuck in the car.
Core Problem #5: The Perception of Dark Destruction
Let me get this out of the way before we begin this section: I have no problem with the idea that Metropolis and Smallville were heavily damaged during the movie, nor do I have really much of an issue with Superman snapping Zod's neck.
The problem, I feel, is not in the idea itself, but in the repercussions from the audience's point of view. Similar to the Jonathan Kent scenario, too much was left on the table where the fans would have to draw certain conclusions on their own.
Immediately, people were reacting to this with hatred that Superman was a killer and didn't care about the deaths of thousands. That's not true. Superman doesn't want to kill Zod, but reaches a point where he sees no way out and that he must make that hard decision in order to protect the planet. Superman has killed before, such as when he killed Doomsday. Where it gets tricky is that Zack Snyder and company didn't set up the circumstances correctly to illustrate not only how Superman was backed into a corner, but that he wasn't equipped to handle the task in a better way.
Up until the final fight, Clark has really not been Superman. This is his first real test against an enemy rather than just saving people from accidents and putting out fires. He has no training in combat and he certainly has not seen destruction on such a grand scale. It's one thing to struggle to help save everyone from a collapsing oil rig where you just need to hold up some metal and tell people to get to a helicopter. It's an entirely different thing to fight superpowered and highly trained warmongering killer soldiers in hand-to-hand combat while stopping their giant planet-devouring machines AND to do so while protecting the civilians in the city...and to do it all singlehandedly.
There needed to be a more concerned effort in showing that Clark was overwhelmed and was trying to figure out how he could fix all of these problems at once. Maybe instead of focusing so much on the fights, there could have been a scene or two where he knowingly ignored the villains and didn't go for a really good punch because he rushed to save someone, which made him vulnerable to one of their attacks. In that scenario, he shows that his priority is the safety of everyone else, not himself, nor winning the fight. Remember the scene in The Avengers where Captain America tells the police that he and the others will take the fight to the Chitauri, but there are people on the streets that still need protection and the cops should be setting up a perimeter and so on? That illustrated that Cap was prioritizing the people while also working out battle strategy. He's more trained in that field, so of course he would be better at it than Superman, but the average moviegoer isn't thinking of that unless they're told. One quick scene where Superman tells the military that he doesn't know the best strategy of how to handle all of the threats and he needs their help while he puts himself out there as the target for Zod and company to attack could have done massive justice.
When it comes to killing Zod, why after all this destruction does it come down to Clark killing him to avoid hurting one family? Also, why does Zod's heat vision go in a straight line instead of just killing them if it's just his line of sight, considering how he could simply look at them and it would be the end? Let's ignore that plot hole and just go with the ticking time bomb scenario they set up. That one random family could have been an attempt to put the destruction under a microscope. It's one thing to see a building collapse and know that hundreds of people were killed, but it's another to watch each person die. If this was the filmmakers' attempt to put that into perspective and make us feel a more visceral reaction to the deaths that we could easily brush aside with the big sweeping destruction porn of the other scenes, it just wasn't executed properly. As far as if Superman had the right motivations in that scene, that's another whole issue. I think it would have made more sense if it were a family of a man, a woman, and their little boy where the father was standing in front of his wife and son, offering himself as a sacrifice to try to protect them. This would cause a flashback of remembrance for Clark to think back to his father and he would look at the situation where if he doesn't kill Zod, here's another family similar to his own where the boy will have to endure the pain of losing his father and the mother will have lost her husband. Since Clark couldn't save his father before, but he can save this boy's father (as well as everyone else out there), he has to make the tough call and end Zod.
To put an emphatic period at the end of all this, what really would have helped audiences swallow this destruction much easier is if Superman would have reacted to it more after the dust had settled. Yes, now that Batman v Superman: Dawn of Justice is coming out, we know there's repercussions from Batman and Lex Luthor and the government, but we didn't get anything to indicate to that at the end of this movie. Instead, we had Superman acting cocky to the military about how he could totes kick their asses if he wanted to and they should just leave him alone. Instead of a slightly veiled threat of "dude, you've seen what I can do, and you should trust me or else" it should have been Clark feeling remorseful that he couldn't do a better job saving people and the military being the ones that give him a pep talk. They could cheer him up (to an extent) by telling him he did all he could do and he proved (to them at least) that he has Earth's best interests in mind, and they willingly are choosing to give him some freedom to recompense for their mistrust earlier.
Miscellaneous Extra Flaws & Nitpicking
Basically, those big problems above are the things that would have saved these movies and made them better as a whole, but there are smaller things that could have been changed as well. I'm obviously not going to nitpick every little detail, but a few things that stand out to me are as follows:
Pete Ross and IHOP – Pete Ross in general is poorly handled in this. I mentioned before that he's a fat loser and a bully, which is just weird to me to begin with. Whitney Fordman poses a better antagonist, although I would get on board with Pete being converted from a bully to a friend if he didn't turn out to just end up working at a goddamn IHOP. In the comics, Pete became the freaking President of the United States! He also married Lana Lang, who shows up in this movie bearing a resemblance to Kristin Kreuk's version of the character from Smallville rather than the red-haired Lana from the comics. I'm okay with this interpretation of Lana being the new standard as it promotes more diversity (but Lois should have had brown hair, not Lana's red hair, just to reiterate that point). Pete from Smallville was portrayed by a black actor, Sam Jones III. This version of Pete could have taken a similar route, or even stayed a Caucasian person and even an out of shape one if necessary, but why is he just working at IHOP? Why the product placement? That was ridiculous!
Krypton Exposition – This should have been tightened up as it just runs too long and that time could have been better spent filling in other gaps of the story. I'm sure if they wanted to, they could have rewritten it to cut down on a scene or two and combine them in some fashion.
Hallucinations – It seems as though we're getting another one of these "horrific nightmare" scenes in Batman v Superman and I don't know why Zack Snyder is such a fan of them. This whole stuff with the ship and the hallucination with the skulls was superfluous and unnecessary flair that ate up time.
Hamilton shouldn't have died – Keep this character around to be a primary scientist in researching things for S.T.A.R. Labs or even Lex Luthor's version of Doomsday if you're going that route. There's no need for him to have died whatsoever.
Fortress of Solitude – Speaking of destroying things that you could use for the future, why did you just get rid of Jor-El and the whole idea of the Fortress of Solitude? If you don't know if you can use something in the future, but it's a big part of the canon, leave it open ended. You don't need to come back to it, but you are writing yourself into a corner you need to explain harder later on if you want to bring it back. This is why I'm worried they'll cut corners and kill off Dick Grayson just to get rid of the problem of having too many Robins to deal with and they'll merge him together with Jason Todd. Now this means we're one movie into the DCEU and we can't have Jor-El and the Fortress of Solitude ever show up again unless there's some convoluted method that eats up more screen time that is introduced to explain why it could have a resurgence. And what impact did it have to destroy it? None. It was pointless.
The Dogs – Why isn't either of them named Shelby?
Joe Shuster and Jerry Siegel – I hope that Clark using the pseudonym Joe while he was traveling the world was a reference to Joe Shuster, and I wish that his time on Deadliest Catch playing around in the ocean would have addressed him as Jerry to make it a double. Missed opportunity.
Stealing – Maybe if one of the criticisms of your movie could be that it's too dark and everyone's too cynical, don't show Superman stealing clothes and screwing up trucks just for revenge. The truck thing is played for a laugh and that's more excusable to me, but stealing the clothes wasn't something we needed to see, cause we would just fill in the gaps ourselves about how he got his clothes he was currently wearing. Now, instead of us making the judgment call ourselves on whether he just had extra clothes stashed somewhere or he purchased them or whatever, we know that he's a thief—probably because his dad had a conversation with him at some point that said if you're missing clothes, it's more important to get something on than to be nice to people, cause they should all die anyway.
Closet Scene – The dialogue in that scene where Clark hides in the closet at school is too sappy. If the world is too big, then make it small? Someone's trying too hard to be deep.
The Suit – Overall, I love the suit, but one change I would make that I think could have had a really nice reflection on the classic look is for the little blue sections around his waist to be red and for a more pronounced gold belt-like center to be placed in there. This wouldn't give him the red underwear and gaudy yellow belt, but it would resemble it more.
Well, there you have it—some insight into how I would have changed things in hindsight if DC magically gave me the ability to do so. This is the type of movie that has a ton of things that I absolutely love, like the first contact angle and "Welcome to the planet" and so forth, but some things that really just irk me so much that I can't love it and it makes me nervous for how things will go with the rest of the films coming up.
What do you think of the changes that I would have made?
Welcome to the latest edition of Making the Grade—a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for season 2 of the Marvel television series Daredevil available on Netflix.
Daredevil Season 2—starring Charlie Cox (Matt Murdock / Daredevil), Deborahn Ann Woll (Karen Page), Elden Henson (Foggy Nelson), Elodie Yung (Elektra Natchios), Jon Bernthal (Frank Castle / Punisher).
WARNING - SPOILERS BELOW
CHARACTERS: A
There's not much to say about Matt Murdock that wasn't already spoken about the last season, as the character hasn't downgraded in the slightest bit. It's interesting to see him struggle this season with how he needs to be more reserved rather than as brutal as he was before. Of course, in comparison to The Punisher, Daredevil looks harmless.
Foggy gets to show off his intelligence more, to the point where I actually buy into him being a legitimate lawyer now. Last season, he was kind of a bumbling sidekick for a good portion of it, and although he wasn't an idiot and he eventually was instrumental in the case against Wilson Fisk, from the start of this season, he's clearly advanced in confidence and skill. I'm still glad he took a bit of a backseat, though, as I wouldn't have wanted much more than what we got out of him.
Speaking of taking a backseat, Karen Page may have had just a tad too many scenes over the 13 episodes of season 2. At times, I felt like she was sticking around just because she's a main character and not because the plot dictated that she appear. I'm also getting a bit sick of the "woe is me" act about her being a bad person. By the third or fourth time this was brought up, I wanted her to just get her comeuppance already. Karen fills that Lois Lane role where she digs up some stuff and eats up time looking into things that could have probably been accomplished much quicker. Having her as a journalist rather than a secretary for the majority of this season just made me want Ben Urich back rather than the tag team of Karen and Ellison.
The Punisher's story arc was my favorite of this season by far. The episode where Frank Castle has Daredevil tied up on the rooftop equals or surpasses the hallway action scene from last season for my favorite moments of the show's history. I loved the idea of the power struggle coming up from the vacuum left behind by Kingpin, whose appearance was greatly appreciated as well. This is definitely my favorite version of The Punisher so far and I want to see a spinoff series for sure.
The other major storyline was The Hand with Elektra and Stick. Admittedly, I was a bit disappointed that most of this was so simple as to just be "insert ninja fight" but that the more complex plot behind it all is still up in the air. I want some clarification as to what Black Sky really is, damn it! Stick is the man, Elektra is welcome back any time, but I'll be disappointed if The Hand alone are the sole villains of The Defenders.
Nice to see shout outs to Jessica Jones characters, the Stilt Man legs, Melvin Potter in general still being quite cool, and a decent use for Turk. No Bullseye appearance, though? Still? Very disappointed in that.
ACTING: B+
Everyone from the previous season matches up to what they were before, so let's just jump right into the two major newbies who are both fantastic.
Jon Bernthal is the best Punisher yet, hands down. Somehow, he was able to do the character justice when it comes to the hard edge brutality and also throw in some humanity. Over the course of the season, I found myself thinking he was legitimately insane, downright a villain, or the best hero of them all. As hard as it would be to cheer someone like this in real life, I was rooting for the guy so much more than the other incarnations.
And then you have Elodie Yung as Elektra, who is pretty much the total opposite of Jennifer Garner's version, thankfully. I buy into her being a foreign assassin instead of just some bored white chick from Oklahoma or wherever Garner is from. I feel like it's Oklahoma for some reason. Anyway, Yung provides another example of a character that I probably wouldn't like for real because of how murderous she is, but I actually liked. She's got that "bad girl" sexiness going on that I was digging a lot.
VISUALS (FX, MAKEUP, COSTUMES, SETS): A
For the limited budget that this show is working with, I don't remember a single time that I thought something looked cheap. I'm sure the sets are recycled, but they're redressed well enough that I couldn't pinpoint anything looking too similar. There aren't a lot of visual effects to be concerned with, the makeup for all the wounds is believable and the costumes are reminiscent of the comic book iterations while keeping them grounded in reality.
MUSIC & SOUND: C–
By no means is anything offensive to the ears with this show, but I'm not a huge fan of the main title sequence and it actually bugged me that Netflix didn't skip it like they did with Jessica Jones. Having to manually skip past that theme 13 times got frustrating, and nothing else stood out to me as a positive to balance it out. Stick's theme from the last season was probably my favorite track and I can't even remember that necessarily being too prevalent this time around (although I could easily be wrong about that and just didn't pick up on it as I was focused on the action). The sound is fine, but the music could use an upgrade.
TONE (ACTION, ROMANCE, COMEDY): A–
This is definitely the darkest that the Marvel Cinematic Universe has gotten so far when it comes to violence (with the sex aspect of the R-rating going to Jessica Jones of course, and I'm sure Luke Cage will push the boundaries for racial issues while Iron Fist will...uh...have glowy hands)
ACTION: Guns and ninjas galore. Sometimes, the stunt choreography got a bit fantastical with how Daredevil flips to kick so many people, but I'll allow it.
COMEDY: Not too much to laugh at here...
ROMANCE: Elektra is so much hotter than Karen, am I right?
FINAL GRADE: A
If you liked the last season, I can't imagine you'll be disappointed with this one. The weak point continues to be the need to keep Karen at the forefront instead of letting her take some time off like Foggy did this season, but by no means does this suffer from the same pacing and stretching issues that Jessica Jones did. This is a strong season that I highly recommend.
On the latest edition of Minute Man Reviews hosted by Tony Mango, season 2 of Marvel's Netflix television series Daredevil is given as full of a review as possible in under 60 seconds.
Check out the video below and be sure to subscribe and leave your comments on what you thought of Daredevil season 2!
Posted by
Anthony Mango
- Wednesday, March 16, 2016
We're back with another unboxing video from SuperHeroStuff.com to celebrate the upcoming release of the Batman v Superman: Dawn of Justice film coming out March 25th.
SuperHeroStuff's latest Hero Box actually gives you the option of choosing a Batman/Superman box or a Wonder Woman theme to coincide with the DC Trinity's first time on screen together.
The Hero Box Batman Vs Superman Gold Edition for Men is the ultimate gift box for fans of DC Comics' Dawn of Justice. Containing 100 bucks worth of stuff for 70, you'll get a shirt and tons of other stuff with the Hero Box Batman Vs Superman Gold Edition for Men!
Gold Edition: $69 for $100+ worth of goodies
Silver Edition: $49 for $70+ worth of goodies
If you want to get in on the fun and reserve yourself some cool stuff for next month, place your order at SuperHeroStuff HeroBox.
Thanks again to SuperHeroStuff for sending this our way!
Welcome to the latest edition of Making the Grade - a review format segment here on Fanboys Anonymous where we break down the five major components of something and give it a score based on the standard report card lineup: A, B, C, D, and F for a total failure.
The next report card is for the sci-fi thriller and "blood relative" of Cloverfield entitled 10 Cloverfield Lane.
10 Cloverfield Lane - directed by Dan Trachtenberg; written by Drew Goddard and Daniel Casey; starring John Goodman, Mary Elizabeth Winstead, and John Gallagher Jr.
WARNING - SPOILERS BELOW
CHARACTERS: B+
Howard (Goodman) was definitely the best character. He was creepy and unstable, a solid combination for a psychological thriller antagonist. Michelle (Winstead) was very reminiscent of a young Ripley (Alien), determined and strong. Right away, she assumed the position of a fighter instead of slowly transforming into one, a welcomed choice instead of what we normally see in most thrillers or horror movies.
Emmett was a bit too monotone for me. Even when the stakes were high, he maintained a cool demeanor. A slightly strange choice for a supporting character in thriller.
ACTING: B+
John Goodman is the man. He is able to go from scary to vulnerable to homicidal with great believability. Mary Elizabeth Winstead held her own so she earns major props. John Gallagher Jr. felt a bit stale. Anyone could have played his part.
VISUALS (FX, MAKEUP, COSTUMES, SETS): B+
Every now and then I found the CGI to be a little bit shaky, but it might have just been the snob in me. Overall they did a good job, specially when it came to creature design. The creatures in 10 Cloverfield Lane bordered the line between the mechanical and the organic, which gave the flick a fresh and innovative look. Though we don't see the big Lovecraftian alien from Cloverfield in this one, the presence of tentacles and a octopus-like mouth on one of the flying beings allows us to deduce they are all in fact part of the same universe.
The makeup was also good. Nothing looked particularly bad and I appreciated the continuity of Michelle's pealing nail polish as the days went by.
Howard bunker was quite possibly one of my favorite aspects of Cloverfield Lane. Just like Howard's character, it had cold scary areas (like Michelle's room) and nostalgic bits like the jukebox and movie collection. It felt light at times and in the next second oppressing. Perfect.
MUSIC & SOUND: A
Sound design was really important in this film since Michelle's only connection to the outside for the majority of the story is based on what she hears. Music was also very entertaining and present in the movie, since Howard has a good old jukebox in his bunker. The rendition of Tiffany's "I Think We're Alone Now" was particularly cute.
TONE (ACTION, ROMANCE, COMEDY): A
This movie is a psychological thriller. Prepare to feel tense and uneasy for most of it.
ACTION: The final scenes are charged with action. Michelle needs to save herself from Howard and then from a force she does not understand. It definitely kept my attention and I was cheering for her safety and success.
COMEDY: There are some fun moments in this film and some non intentional funny ones, but comedy is not a major point.
ROMANCE: This is not a romantic movie, thank the gods. Though you will find interesting to know that the voice of Michelle's boyfriend is actually Bradley Cooper's.
FINAL GRADE: B+
10 Cloverfiel Lane is a successful movie. It plays with paranoia, murder, alien invasion, and survival. The characters (for the most part) are very interesting and likable, which allows for the story to be enjoyed even by those who are not big fans of science fiction.
I throughly enjoyed this movie and if you watch it, you won't be disappointed.
Hey, hey, hey, Dacetacular nation! Check out episode 143 of The Dace Man Show with hosts The Dace Man, Frank Ward, Gibby, Patty McTitties and Travis Goss!!
::SPORTS NEWS::
The NHL, MLB, NFL, and our favorite: curling!
::WEIRD NEWS WITH GIBBY::
Gibby brings the class to the show with weird things going on in the world!
::FRANK'S CORNER::
Frank-tastic facts for your everyday life
::CELEB NEWS::
Dace is back, and he's packing a punch since he's on some diet pills and Red Bull. Get ready Hollywood!
Plus the occasional game ofWho Said It, the crowning of The Doucebag of The Week,and much, much more, only on The Dace Man Show.
As always, check back regularly to see what Chris "The Dace Man" Dace is looking at (and no, not just porn), as well as all of the other bloggers here at Fanboys Anonymous. Remember, keyboard warriors: leave your feedback! Until the next time, for the few, the proud, and, of course,the Dacetacular, grab a beer—and in this case a comfy seat in front of your computer—and check out what's going on here in the Dace-Sphere. See ya next time!
Listen live to The Dace Man Show every Tuesday at 8 p.m. EST on Mega Powers Radio.
Hey, Hey, Hey Dacetacular nation!! The Dace Man Show is partnering up with Fanboys Anonymous and Mega Powers Radio as well as Say Yes, Think No to host a 24-hour video game marathon with all proceeds going directly to charity. Join us March 12, 2016 starting at noon!
DONATE HERE
On February 15, 2014, The Dace Man Show was able to raise $900 for St. Jude Children's Research Hospital, and on February 28, 2015, we raised $1,200 for Young Audiences New Jersey & Eastern Pennsylvania. This year, we're looking to do even better as we do battle again for 24 hours!
Check back regularly for updates and more information on the gaming blocks, prizes, and ways you can donate to Alzheimer's Association Delaware Valley Chapter!
If you can't donate, you can still help out by spreading the word. Share us on Facebook, Twitter, Reddit, or any other sources that you have so we can reach as many people as possible.
March 12th Kick off at Noon - Twisted Metal 2—tis tradition!
After Twisted Metal 2 to 4PM: TBD
4PM to 8PM: TBD
8PM: SUPER SMASH BROS TOURNAMENT - It's time to crown a true champion, and we actually have a trophy. We will have one or two (depending on the amount of entries) eight-man mayhem matches to determine seating on the tournament. From there, we will engage in one-on-one battles to determine the Super Smash Champion! To enter the tournament, please reach out to Chris Dace on Facebook or shoot an email to thedacemanshow@gmail.com with the subject SMASH BROS. TOURNAMENT
Immediately Following the Tournament: TBD
Twilight Limbo After Hours - Who honestly knows what's going to happen?
9AM to Finish: John Calls It - My nephew John—who will be wide awake and ready to go—will close us out on the 24-hour game-a-thon, picking games and playing while the rest of us try to stay awake LIKE HE DOES EACH YEAR.
The Prizes
For every $5 donated to the cause your name will be entered into a random drawing for awesome prizes brought to you by our sponsors!
(2) $25 Dollar Gift Certificates to Applebee's
(2) 3-Month Subscriptions to Loot Crate
(5) T-Shirts from TeeTurtle.com
Marvel Civil War and Road to Civil War Paperback
$25 Game Stop Gift Card
Amazon Fire Stick TV
(5) Steam Game Codes
Fanboys Anonymous Movie Club Pack - January Edition "Winter Movies"
(Snowpiercer, Groundhog Day, Edward Scissorhands, Frozen)
(2) Philadelphia Phillies Home Opener Tickets [Section 141 Row 22 Seats 17 & 18
Check back regularly to see what other awesome prizes we will be giving away.
