It exists for its own sake, having realized its purpose and achieved its potential. Maybe that’s the crux of any good buddy cop series, our antiheroes’ volatile relationship with each other and with the law, but when, in Bad Boys II, having stolen a car from Dan Marino and dodging naked dead bodies falling from the back of the bad guys’ truck, Marcus screeches, “This is unnecessary!”-that’s when Bay’s indulgence reaches entelechy. Because Bay’s two films repeatedly walk them to the edge and back.
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As Bay turns over the franchise, content being a literal wedding DJ for the uniting of these new brands-the marriage of nostalgia and breathless, idiotic futurism-now’s the best time to wonder at what makes a Bad Boys movie beyond the presence of Smith and Lawrence. If Bad Boys II is about how all cops are psychopaths and how that’s OK, then Bad Boys for Life is about how all cops, who are psychopaths, aren’t OK. And so, after passing through many hands, the responsibility falls into the laps of up-and-coming Belgian Neveldine/Taylor aficionados, Bilall Fallah and Adil El Arbi, to galumph inevitably on in the story of these two men who have lived a lifetime with the many lives they’ve ended. In the past 16 or so years, Michael Bay must have realized that he needn’t direct a third Bad Boys film he’d already epitomized that film’s fascistically pop style and then sent it careening over a shark-shaped Autobot off a cliff. Bad boys for life,” they weep into each other’s arms, their family standing around them, applauding, the corpses of the vanquished piled high, spreading infinitely outwards in the wake of their egos to haunt the fringes of their waking realities, forevermore. Their journeys take them to Cuba, wherein they destroy a small village and vaporize their enemies, perhaps both as homage to Police Story and as ultimate vindication of their insatiable bloodlust.
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Mike’s primary characteristics involved being rich, being cool and murdering too many people, while Marcus, though he too murdered a lot of people, represented the working class everyman who faces a moral conundrum about murdering people because he has a daughter.
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Michael Bay thinks that’s OK: In 2003, we needed psychopaths to lead us crotch-deep into the new frontier of crime before which we-Americans, soggy and vulnerable sacks of flesh full of red, white and blue-stood, and Miami detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) served well as avatars for the particular kind of hyper-violent, xenophobic supermen who’d hold the front line. But you know what? A thousand years from now, we’ll still fucking be here!” - Mike Banning (Gerard Butler), London Has Fallenīad Boys II is about how all cops are psychopaths. ”You know what you assholes don’t get? We’re not a fucking building! We’re not a fucking flag! We’re not just one man! Assholes like you have been trying to kill us for a long fucking time.