Can't get past this one-two from the quotes section of Spawn's IMDB page:
Cogliostro: The battle between Heaven and Hell has waged eternal, their armies fueled by souls harvested on Earth. The devil, Malebolgia, has sent a lieutenant to Earth to recruit men who will turn the world into a place of death in exchange for wealth and power, a place that will provide enough souls to complete his army and allow Armageddon to begin. All the Dark Lord needs now is a great soldier, someone who can lead his hordes to the gates of Heaven and burn them down.
-
Clown: [imitating Jimmy Stewart] "Uh, well, well, every time someone farts, a demon gets his wings."
A possible shout for a sort of last Hurrah of Big Beat Cinema: Wanted (2008). Stars Angelina Jolie and James McAvoy (who in my mind is basically the same as Euan McGregor), full of completely ridiculous style over substance (main characters are a fraternity of assassins can shoot bullets in curving arcs because why not). One minus point is that I'm not sure the soundtrack is all that big beat, but come on just look at these first few paragraphs from the wikipedia plot summary:
'In Chicago, Wesley Allan Gibson works at a dead-end desk job with an overbearing boss, takes medication for panic attacks, and lives with his abrasive girlfriend Cathy who cheats on him with his co-worker and best friend, Barry.
One evening, Wesley is told by a woman named Fox that his recently murdered father was an assassin. The killer, Cross, is now hunting him. When Cross and Fox engage in a shootout, Wesley panics and flees. Cross pursues Wesley, who Fox manages to help escape. Wesley awakens in a factory surrounded by Fox and other assassins.
The group's leader, Mr. Sloan, forces Wesley at gunpoint to shoot the wings off several flies, which he does. Sloan explains that Wesley's panic attacks are actually a rare ability that allows him to produce massive amounts of adrenaline, granting him superhuman strength and speed. Wesley's father and Cross were members of the Fraternity, a society of assassins that maintains balance in the world, headquartered in a repurposed textile mill. Sloan wants to train Wesley so that he may help kill Cross.
A panicked Wesley leaves the building. The next morning, he discovers that his bank account now contains millions of dollars. Filled with new confidence, he insults his boss in front of the whole office and hits Barry with a keyboard.'
Surely the talismanic BBC 'actor' is Vinnie Jones. Ex-footballer. Supposed hard man. Full time geezer. Maximalist machismo. Terrible actor. Failed British export to Hollywood. He's someone that could have only manifested in the 90s. He is BBC writ flesh.
That is a top shout. A cast of Jones, Statham, Dyer, plus Guy Richie and Mathew Vaughan 'muse', Jason Flemyng. It's got lags with a heart of gold and an iffy breakbeat soundtrack. That is all the ingredients to make a BBC soup.
Another thought: You guys went into the two divergent paths that post-big beat blockbusters took; really self-serious gritty approaches like the Nolan Batman trilogy and the franchise-isation/IP approach of the MCU. I wonder if I could elaborate a bit on the latter;
Big Beat gets by on a sense of detached irony that doesn't take things too seriously, except being cool which it takes extremely seriously and is incredibly earnest about. I think the Joss Whedon-isation of dialogue popularised by the MCU can be seen as a kind of post-Big Beat syndrome in that it refuses to take being cool seriously at all. The cardinal sin is no longer showing emotion or vulnerability (which some of the MCU films at least attempt to do), rather it is attempting to be cool without being apologetic and self-aware (all the 'well that just happened' and 'he's behind me isn't he?' type lines). The heroes of the MCU are in no way cool, they're awkward nerds who are often literal embodiments of American capitalism and the military industrial complex and who don't have time for something as trivial as being cool, and the films spend a huge amount of time letting you know how much contempt they have for people that do.
I feel like big beat cinema, especially rob cohen, is just a montage of things that michael scott, as in the office character, for reasons find super cool. I genuinely don't think there's a lot that separates xXx from that fictive Michael Scarn movie.
Also: is Better Luck Tomorrow, the debut from Tokyo Drift-direvtor Justin Lin kinda BBC?
God bless anyone who watches Spawn for any reason. I feel for them. The Atari Teenage Riot x Slayer track on the soundtrack is amazing though.
Can't get past this one-two from the quotes section of Spawn's IMDB page:
Cogliostro: The battle between Heaven and Hell has waged eternal, their armies fueled by souls harvested on Earth. The devil, Malebolgia, has sent a lieutenant to Earth to recruit men who will turn the world into a place of death in exchange for wealth and power, a place that will provide enough souls to complete his army and allow Armageddon to begin. All the Dark Lord needs now is a great soldier, someone who can lead his hordes to the gates of Heaven and burn them down.
-
Clown: [imitating Jimmy Stewart] "Uh, well, well, every time someone farts, a demon gets his wings."
Clown: [farts twice]
Clown: Oops, twins.
A possible shout for a sort of last Hurrah of Big Beat Cinema: Wanted (2008). Stars Angelina Jolie and James McAvoy (who in my mind is basically the same as Euan McGregor), full of completely ridiculous style over substance (main characters are a fraternity of assassins can shoot bullets in curving arcs because why not). One minus point is that I'm not sure the soundtrack is all that big beat, but come on just look at these first few paragraphs from the wikipedia plot summary:
'In Chicago, Wesley Allan Gibson works at a dead-end desk job with an overbearing boss, takes medication for panic attacks, and lives with his abrasive girlfriend Cathy who cheats on him with his co-worker and best friend, Barry.
One evening, Wesley is told by a woman named Fox that his recently murdered father was an assassin. The killer, Cross, is now hunting him. When Cross and Fox engage in a shootout, Wesley panics and flees. Cross pursues Wesley, who Fox manages to help escape. Wesley awakens in a factory surrounded by Fox and other assassins.
The group's leader, Mr. Sloan, forces Wesley at gunpoint to shoot the wings off several flies, which he does. Sloan explains that Wesley's panic attacks are actually a rare ability that allows him to produce massive amounts of adrenaline, granting him superhuman strength and speed. Wesley's father and Cross were members of the Fraternity, a society of assassins that maintains balance in the world, headquartered in a repurposed textile mill. Sloan wants to train Wesley so that he may help kill Cross.
A panicked Wesley leaves the building. The next morning, he discovers that his bank account now contains millions of dollars. Filled with new confidence, he insults his boss in front of the whole office and hits Barry with a keyboard.'
Surely the talismanic BBC 'actor' is Vinnie Jones. Ex-footballer. Supposed hard man. Full time geezer. Maximalist machismo. Terrible actor. Failed British export to Hollywood. He's someone that could have only manifested in the 90s. He is BBC writ flesh.
Another top episode. Keep up the sterling work.
Snatch, Lock Stock, Gone in 60 Seconds AND Swordfish in the filmography - you really could be onto something here.
Immediately investigating whether this could be canon-worthy: https://www.youtube.com/watch?v=oc3LtcVT1WA
That is a top shout. A cast of Jones, Statham, Dyer, plus Guy Richie and Mathew Vaughan 'muse', Jason Flemyng. It's got lags with a heart of gold and an iffy breakbeat soundtrack. That is all the ingredients to make a BBC soup.
Another thought: You guys went into the two divergent paths that post-big beat blockbusters took; really self-serious gritty approaches like the Nolan Batman trilogy and the franchise-isation/IP approach of the MCU. I wonder if I could elaborate a bit on the latter;
Big Beat gets by on a sense of detached irony that doesn't take things too seriously, except being cool which it takes extremely seriously and is incredibly earnest about. I think the Joss Whedon-isation of dialogue popularised by the MCU can be seen as a kind of post-Big Beat syndrome in that it refuses to take being cool seriously at all. The cardinal sin is no longer showing emotion or vulnerability (which some of the MCU films at least attempt to do), rather it is attempting to be cool without being apologetic and self-aware (all the 'well that just happened' and 'he's behind me isn't he?' type lines). The heroes of the MCU are in no way cool, they're awkward nerds who are often literal embodiments of American capitalism and the military industrial complex and who don't have time for something as trivial as being cool, and the films spend a huge amount of time letting you know how much contempt they have for people that do.
wow huge shout out thanks! haha. I think I've invested around $40 bucks renting all these movies.
I feel like big beat cinema, especially rob cohen, is just a montage of things that michael scott, as in the office character, for reasons find super cool. I genuinely don't think there's a lot that separates xXx from that fictive Michael Scarn movie.
Also: is Better Luck Tomorrow, the debut from Tokyo Drift-direvtor Justin Lin kinda BBC?