|2014||102 Min||Science Fiction . Action . Sci-Fi . Thriller|
In RoboCop, the year is 2028 and multinational conglomerate OmniCorp is at the center of robot technology. Overseas, their drones have been used by the military for years, but have been forbidden for law enforcement in America. Now OmniCorp wants to bring their controversial technology to the home front, and they see a golden opportunity to do it. When Alex Murphy (Joel Kinnaman) – a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit – is critically injured, OmniCorp sees their chance to build a part-man, part-robot police officer. OmniCorp envisions a RoboCop in every city and even more billions for their shareholders, but they never counted on one thing: there is still a man inside the machine.
|Actors:||Samuel L. Jackson , Marianne Jean-Baptiste , Jay Baruchel , Jennifer Ehle , Abbie Cornish , Michael Keaton , Gary Oldman , Joel Kinnaman , Jackie Earle Haley , Michael Kenneth Williams|
RoboCop is no canned remake of the 1987 action film. It's a reimagining that responds to everything that has changed in American life over the past 27 years, addressing new threats and exploiting new anxieties.
As viscerally exciting as Padilha's RoboCop can be, the movie is elevated by serious considerations of the ethics of using robots as guardians (shades of drones), commercialism, playing God with science, and what being human is about.
Taking the original and successfully transplanting it into an ambitious new world, José Padilha’s english-language debut is an exciting, pacey and thoughtful sci-fi actioner.
Jose Padilha's Robocop reboot does some of the things a good remake should do: it retains the central ideas and themes of the original while updating and rearranging the narrative to lose a derivative feel.
This movie comes at you with an idea or two, as well as every available gun blazing.
RoboCop is a solid near-future action pic that poses moral questions about artificial intelligence and remote-control combat systems without getting too preachy or ponderous about it.
This RoboCop earns its stripes, mostly for the seriousness with which it treats its Frankenstein story.
RoboCop is topically up-to-the-moment but stylistically it’s retro. Far from using the story as an excuse to string together cheap thrills and blowout spectacle, its hero has all the heart of the Tin Man.
It’s a rare “reboot” that transcends its studio’s money-grubbing. It has some Big Ideas.
It’s a less playful enterprise than the original, but meets the era’s darker demands for action reboots with machine-tooled efficiency and a hint of soul.
The film has lots of energized mayhem, and Murphy's unraveling of the conspiracy against him isn't dumbed down, yet it's as if the comic-book action poetry of the original has been encased in a suit of generic armor.
There are enough rough edges and interesting kinks across the two-hour running time that you come out forgiving it for the more generic elements, though we'll acknowledge that the flaws might stick out more on a second viewing, when you're not just pleasantly surprised that the whole thing isn't a stinking mess.
RoboCop has sound and fury to spare and even an inspired idea or two lurking beneath that polished exterior, but much like its upgraded namesake, this watchable mess ultimately lacks a prime directive to call its own.
Though this RoboCop can’t come close to capturing the clever-silly audacity of the original, one area in which the current film easily surpasses it is in the quality of the cast.
It's well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun?
A nicely cast, respectable remake.
Every bit of it is more advanced: The actors are better, the plot is tighter, the special effects sleeker, the messages more heartfelt. Yet it lacks Verhoeven's bloody, biting scream.
Thanks to a good cast and a willingness to stray fairly far afield from the source material, it’s better than you might think.
This is a slicker, shinier, admittedly inferior affair. But with a strong cast, a roaring pace and at least one genuinely unforgettable scene, it’s by no means a write-off.
The film is not only unchallenging, it seems actively scared of challenging us. You emerge feeling pacified and only semi-entertained.
In some ways, the thoughtful, dense script marks an improvement on the original, and the cast is certainly tonier this time around. What’s missing is the original’s evil wit, amoral misanthropy and subversive slipperiness.
Brazilian director José Padilha (Elite Squad, Bus 174) soldiers on stolidly, but lacks the Dutch Verheoeven's abiding sense of mischief.
Neither Alex Murphy’s internal moral conflict nor the larger, vaguely satiric portrait of a global culture dependent on high-tech law enforcement seem to be the main point of this Robocop remake, which raises the question of what is meant to be the point.
What we’re left with is a teen-oriented action flick with an A-minus cast, a mixture of “Transformers”-style robot battles and cops-and-robbers showdown that never feels all that exciting or cutting-edge, bracketed by some intriguing and half-successful moments of social commentary.
A faithful remake of RoboCop would be timely. Instead, the producers of this new version have retreated back to the lab, concocting a creaky hybrid of “Frankenstein” and “Call of Duty.”
Aggressively loud, terminally mediocre.
Moviegoers are stuck with this sci-fi thriller's bland story, murky cinematography and frenetic special effects.
The film doesn't embarrass itself or dishonor its predecessor, which is something.
Although the movie isn't a complete disaster, it's not your father's RoboCop either.
Director Jose Padilha (the “Elite Squad” movies) knows how to create slick, sometimes clever fast-moving battle sequences... But other than Keaton’s Sellars, the bad guys are mostly generic nitwits.
The result is fitfully interesting, and Mr. Kinnaman, best known for "The Killing" on television, compels our empathy with a kind of macho melancholia. Still, the whole thing comes down to an action adventure that's graphics-rich, logic-poor, coherence-challenged and pleasure-impaired.
While retaining the core story of a bionic man tormented by the memory of his former human life, the film doesn’t play with the concept or give it new dimension. The whole enterprise raises the question: Why do filmmakers insist on remaking movies for no good reason?
There’s no harmony at all to the elements tossed into the new remake of RoboCop, but credit screenwriter Joshua Zetumer and director José Padilha for at least having some elements in play.
Any improvements over the original RoboCop are mere window dressing, more a superficial function of technical advances in filmmaking than of any sort of storytelling prowess or fresh narrative ideas.
There’s nothing wrong, of course, with sci-fi films asking Big Questions, but the delivery doesn’t have to be — should never be, in fact — this tedious.
Yes, the technology has improved in the 27 years that have passed. But the ensuing years have also produced first person shooter video games which utterly preclude the need for this as a movie. Visceral, violent toys that they are, they still have more heart than this.
Ultimately the film is, like the Faux News programming it caricatures at face value, a deck-stacking simulation of a dialogue it isn't even remotely interested in opening.
The main thing wrong with Robocop is that it's dumb, and it's trashy, and it's both of those things in a not-good way.
For all its playfulness, the new RoboCop can’t help but lack the novelty of the original’s jolting mixture of dumb-smart irony and visceral pulp.
The remake of the 1987 cult actioner Robocop is a misguided failure — not only because its retooled half-man/half-machine hero now has emotions, but also because its “fear the machines” message winds up feeling creaky.
A deafening, boring action pile-up that is more Call of Duty than Robocop.
1. RoboCop Original Theme ( Writer: )
2. En Aranjuez con tu amor ( Writer: )
3. Fly Me to the Moon (In Other Words) ( Writer: )
4. Hocus Pocus ( Writer: )
5. Anguish ( Writer: )
6. Take My Life (Tonite) ( Writer: )
7. If I Only Had a Heart ( Writer: )
8. I Fought the Law ( Performer: The Clash )
9. Main Title / The Resistance ( Performer: Basil Poledouris Itunes )
10. Murphy's Memories ( Performer: Basil Poledouris Itunes )
11. Sayonara, McDaggit ( Performer: Basil Poledouris Itunes )
12. Resistance Base ( Performer: Basil Poledouris Itunes )
13. Death of Lewis ( Performer: Basil Poledouris Itunes )
14. Robo Saves Lewis ( Performer: Basil Poledouris Itunes )
15. Nikko and Murphy ( Performer: Basil Poledouris Itunes )
16. Robo Fights Otomo ( Performer: Basil Poledouris Itunes )
17. Otomo Underground ( Performer: Basil Poledouris Itunes )