Donomark

Member
  • Posts

    3,253
  • Joined

  • Last visited

About Donomark

  • Birthday 04/21/1989

Contact Methods

  • Website URL
    http://cbfrevue.libsyn.com/ http://www.hoodedutilitarian.com/author/donovan-grant/
  • Skype
    donomark1

Profile Information

  • Location
    Nashville, TN

Recent Profile Visitors

7,515 profile views

Donomark's Achievements

Junior Member

Junior Member (2/8)

  1. The only thing I kinda roll my eyes at are the headlines going with saying "Superman is out of the closet as Bi" as that's very blatantly out of context. But it's still wonderful news. DC really feels more intently reflective of its fandom. Remember when Batwoman couldn't get married, not because DC was homophobic (sure it wasn't) but that "Superheroes shouldn't get married?" I swear, Didio's ousting has resulted in a much more friendlier company.
  2. This literally feels like some kind of Futurama or Simpsons joke told in the 90s about the future, but it's really happened. The Shat in Shpace.
  3. Malignant: Directed by James Wan I'm not a horror aficionado, but this was an odd watch. It's very basic and straightforward for the first act, a standard mystery for the second, and a slaughter-fest for the last act. It's a pretty crazy twist at the end, but overall this was not only not scary but weirdly uninspired for a film made in 2021.
  4. Pod Save America is a solid political podcast by some very funny former staffers of the Obama Administration, but goddamn if they don't have the most and longest ads I've ever heard. Most podcasts with ads have like one or two and they're typically 90 seconds, 2-3 minutes at the most. These shits go on for six minutes regular. I cannot stand it. I feel like most of the episode is me navigating through the time stamps to find out when they get back to the news discussions.
  5. I like the first Sin City way better than its needless and dumbass sequel. It had just the right mix of cool, style and OTT-ness to make it a fun time. The sequel thinks it's cooler than it is, which is mainly stupid. Shang Chi: Definitely enjoyable, although the requisite Marvel Cinematic Universe symptoms are still in play (needless humor, rushed character development). Luckily the lead is great. Simu Liu is a fun, strong and relatable protagonist, but Tony Leung runs away with this film, and he's not even trying to. His character as Shang's father is definitely not as one-dimensionally villainous as he is in the comics, but that makes for a cooler antagonist. By far and away he's the best MCU villain since Killmonger, especially as he never suffers from that need of the plot to make his evil force him into coming off as a dumbass. He rarely raises his voice or appears unreasonable. Every single thing to do with Shang Chi's relationship with his father, the one thing from the comics that drives the character, is terrific and easily carries this movie. But the humor got on my nerves at times. It's really to the point where I just start my stop watch and see how long my patience can hold for. The perfect example was the cell phone vlogger in the bus fight. There are three gags with him that began truly funny, was less so the second time, and completely unwelcome the third time. Awkwafina...I don't mind Awkwafina. I, personally, am not bothered by her blaccent (there's not really much of that here), and she's probably the most normal MCU character of recent memory, as even Darcy by this point is a mega-genius. One of the better scenes was when she was with Shang's family and the disparate Asian cultures ran into each other with her being the most "western" of the group. That kind of representation, different kinds of Asian people interacting with each other was really cool to see in an A-list blockbuster movie.
  6. Intellectually I absolutely understand the reticence to return to an old storyteller. RTD's era wasn't perfect and he did do campy and cheesy things in it. It was also a highly romantically charged era, something Moffat and also Capaldi took the show away from just to make it feel more like Classic Who. But I still love RTD's era. Tennant's my favorite Doctor, and series 4 was my favorite. The cheesiness tapered off and the experience garnered put the show in a great light. Plus everything was shiny and exciting and new looking. Moffat's era had everything look and feel more drab, which matched his darker tone, but it wasn't exciting.I miss when Doctor Who was the big pop culture phenomenon it used to be around the early Matt Smith years. Moffat got too involved with the mystery boxes, and the glamour wore off. I've hardly seen Chibnall's era, Jodie Whitaker is a fine Doctor (if a bit too reminiscent of Tennant and Smith a bit), but much of what I've seen that's not involving the Master hasn't thrilled me. I'm wanting to be thrilled again, although I hope Whitaker stays on for at least one story under RTD if possible.
  7. Lively discussion fellows! Sorry I couldn't attend, but it made for great listening. I'll only add that the one other person said to have aged over the five year time-skip was Brad from Spider-Man: Far from Home, a character we only meet after the fact.
  8. Steve Jobs (2015): Starring Michael Fassbender Really enjoyed this. The trailer makes it seem more annoying than it is, pitching it as a "One Great Man" theory kind of film. I get why they had to do that, because the actual film is very much a three-act play (Aaron Sorkin who wrote the screenplay, adapted from a 2011 biography, later went on to do To Kill a Mockingbird on Broadway, so maybe he was in that zone). Taking place in 1983, 1988 and 1998, each act delivers escalating scenes of characters in Jobs' life giving him Reasons-Why-You-Suck speeches. But it's Sorkin, so the hypnotic intensity, dynamic direction from Danny Boyle, and reliable quality from not only Fassbender but Kate Winslet and Jeff Daniels keep this at a very dignified level. Seth Rogan plays Steve Wozniak, and delivers easily the best performance I've seen from him since The Disaster Artist. Michael Fassbender is good, he is very good, and Daniel and Winslet are amazing as they always are, but Rogan's performance seriously impressed me. Not only does it not embody any of his slacker-stoner also-rans of the 2000s, but the nuance in his cadence and mild-mannered affect are almost disarming in how sympathetic he is. I love movies like this, where it's based on real events, obviously beefed up dramatically for the sake of being a film, but never OTT or sensationalized too much. It's simply a movie about performances and real people experiencing real emotions where the stakes are credible because they really happened, even if I don't know or care about the world of Apple Computing. Stuff like this or Spotlight are always nice to see because true maturity and mastery of craft I feel are harder to come by in something with as much totality as this. (Disney's) Pinocchio (1940): This was one of the three Disney animated films my brother and I owned on cassette tape back in the 90s, the other two being Aladdin (the GOAT) and Beauty and the Beast. You know when you're a kid and you just accept things that you see, not thinking to question much in the way of storytelling or structure? The immediate thing to talk about with this film, and I'm not the first to reflect on this, is just how brutally dark it is for a children's movie. The second half of the second act with a man kidnapping small boys, taking them to Pleasure Island, giving them drugs and alcohol, turning them into donkeys and trafficking them into slave labor...it's really a lot. Whether if its in the original book or not (my dad did read us the original Pinocchio way back when, but aside from him killing Jiminy Cricket at the beginning and being an asshole throughout I don't remember much else), the imagery is nightmare fuel in the purest sense. And it's never resolved! The movie doesn't even think to comment on it, it's just a thing that happens in this world where fairies exist and cats can be both pets and walk around grifting people in suits. It's not bad, just plainly disturbing, and an example of the kind of movie they made in the early 40s, even considering the Hays Code. The other takeaway was just how innocent Pinocchio was in this viewing. It helped having an actual boy voice him.
  9. Very cool, congrats on the intership!
  10. I only watched season 1, but it seemed evident to me that they fell into a narrative trap with the Punisher in adapting him for a show. Because he cannot be an admirable protagonist in an ongoing narrative such as television. In movies and comic books, you can warp and construe the focus in ways where he doesn't come off as frightening as the very idea of him objectively is. The modern Punisher dresses up like a school shooter for God's sake. So at the end of season 1 where he's going to therapy and seeking help, it's a noble thing for him to do...but it's not the Punisher. He's a serial killer for bad guys, end of story. They didn't help themselves with that NRA porno intro either.
  11. The Suicide Squad At the end of the day, this was pretty much what I expected. A pretty enjoyable film bogged down by James Gunn's storytelling sensibilities that - after two Guardians of the Galaxy movies - are by this point tropes for him. You know he's going to go for cynical, almost mean-spirited humor, extreme violence and general amorality. BUT! There's always gonna be a lovable woobie monster who can barely communicate (Groot, Baby Groot, King Shark) and moments meant to elicit emotion and establish heartfelt connections between a couple of characters. My disconnect is that the tone is so extreme in the irreverent, that the scenes meant to be heartfelt fall completely false. It's shmaltzy, and anyone honestly taken in by these tropes...idk what to say. But on the positive side, this was for sure a far more comic accurate-feeling Suicide Squad movie. It swam in comic booky-ness, with various deep cuts and plenty of color. There's no interest in grinding these elements down to be realistic or not goofy, it is what it is. Viola Davis is still pitch perfect casting as Waller, Harley's written pretty well in her scenes (but she doesn't need to be here, and she has a subplot that feels more like a studio mandate), and Idris Elba is a solid protagonist. Starro (come on, he's in the trailers) is perfectly realized, they could not have adapted him any better. Ultimately this is a solid movie, but I reject hosannas of "COMPLETELY DIFFERENT" and "GUNN HAS REDEFINED THE GENRE". It's xeroxed Guardians, just with more blood, gore and swearing.
  12. I fell off during Season 11, came back for most of season 12, and although none of the episodes I saw were immediate favorites (Although I loved what I saw the season 12's Master), I really wish Jodie had one more season to really cement a stamp on the legacy aside from her gender. Chibnall's direction has been so unimpactful compared to RTD and Moffat's, which isn't wholly fair and can be owed to various things. I always felt cramming the TARDIS with 3 people was too much, especially with a new Doctor. I feel with two main leads, there's more time to have them develop and show more dimension, but not when you're walking this tightrope of developing four characters at once. Even with Matt Smith and his TARDIS, he had a few eps in season 5 where it was just him and Amy.17
  13. Dracula 3000 is a terribad classic