Robocop 3 (1993, Fred Dekker)

It’s actually not hard to find nice things to say about Robocop 3. There’re about fifteen nice seconds of Phil Tippett stop-motion, Dekker’s got a neat way of shooting cars to give a sense of realism (his cinematographer, Gary B. Kibbe, did a lot of Carpenter’s films)… umm… wait, I’m sure I can find a third. It was cool seeing Jeff Garlin in a movie? Does that one count?

Robocop 3 is an unmitigated disaster, made on the cheap–made a few years later, if Orion Pictures had maintained solvency, it would have just been a direct-to-video entry–the only amusing way to pass a viewing experience is to rate the actors’ sense of embarrassment. Worst has to be Nancy Allen, who had so much vested interest in the sequel’s artistic import, she demanded to be killed off. There are a few “reasons” Peter Weller didn’t return–the costume, filming conflicts–but maybe he just read the script. As a PG-13 movie, Robocop 3 is silly. It turns RoboCop into a Saturday morning cartoon superhero, complete with bad one-liners.

What’s peculiar about the film is the cast. It’s a veritable who’s who of television personalities–famous ones. There’s Stephen Root from “NewsRadio,” he’s really bad. CCH Pounder, I’ll use “ER” as an example to keep up the strange NBC connection, is also bad. She’s usually quite good, so I suppose by not being more visibly embarrassed while delivering her lines–well, there’s a compliment somewhere in there. Jill Hennessy from “Law & Order.” She’s absolutely atrocious. Robocop 3 was delayed a couple years while Orion worked its way out of bankruptcy and I wonder if, had it come out as scheduled, she’d ever have gotten another role again.

But my favorite has to be Bradley Whitford, if only because he’s actually all right in Robocop 3. His character’s a generic corporate slime, but Whitford’s got a couple good deliveries. It doesn’t make the movie any better, but they’re funny deliveries. I wonder if he kept the glasses he got to wear in the movie.

I haven’t seen Robocop 3 in ten years and it appears to have corked rather significantly. I haven’t even gotten to some of the worst performances, which is mind-boggling since I have mentioned Hennessy already. I’m just worried I’ll forget the stunt performers, who jump long before they have any reason to, creating an almost surreal effect. But I don’t think Dekker was trying to bring Fellini to Robocop.

There’s an annoying little kid in this one–Remy Ryan Hernandez–she’s real bad. She’s got a great scene where–after doing calculus at a Doogie Howser age–doesn’t seem to understand her parents have been bussed away (the script’s got some real logic problems). Every scene with Hernandez is painful. It’s like the filmmakers were trying to appeal to a Disney girl audience or something.

Rip Torn is also terrible here, mugging for the camera (I’d believe it if they told him he was just doing a voice for a cartoon, which might explain his exaggerated expressions and so on). John Castle, terrible. Mako, terrible. Daniel von Bargen, okay.

As the new RoboCop, Robert John Burke is the pits. Why they didn’t just leave the helmet on all the time and hire Peter Weller to dub in the lines….

Well, that suggestion makes sense and nothing in Robocop 3 makes any sense.

The Monster Squad (1987, Fred Dekker)

Fred Dekker can definitely compose a shot. For whatever its faults, The Monster Squad is one good looking film. Some of that credit belongs to the production designer and the cinematographer and the special effects people, but most of it belongs to Dekker. Dekker composes beautiful Panavision shots and he directs actors really well too–well, some of them, but more on that aspect later.

The Monster Squad is a mix between The Goonies and Ghostbusters and maybe even a little E.T. It’s developed a cult following for whatever reasons a film develops cult followings, but it’s a dramatic train wreck. There’s an infamous missing thirteen minutes (the film’s producers told Dekker to cut it to under ninety), but unless those thirteen minutes are all bridging scenes… The film takes place over three days and the leaps in logic are astounding (my favorite was the kids all being out at midnight with parents completely unaware) and it’s so smug, it’s not even well-meaning in its “message.” Still, there’s a lot of good stuff in Monster Squad.

First, there’s Stephen Macht. The guy’s fantastic–and not all of Monster Squad‘s script is bad. The family stuff is all excellent–it might be stereotypical cop too busy for his family, but it’s being performed by good actors–and some of the humorous stuff with the kids, the one-liners, are good. There’s a cute dog. It’s just so unbelievable… Anyway, besides Macht’s wonderful performance, there’s Duncan Regehr as Dracula. Regehr doesn’t actually have much to do, but he does a great job. The kids are… well, they’re all the kids who guest-starred on 1980s TV shows, pretty much. Only Robby Kiger is good in the scenes with the other kids and with the ludicrous elements, Andre Gower is good at the family stuff with Macht, but not the other stuff. Brent Chalem is terrible.

Even though its special effects are still excellent, The Monster Squad is incredibly dated by its dialogue. Watching it–as I near thirty (and I was vindicated by this widescreen copy, since it clearly shows something I’ve been saying for twenty years was in the film was simply pan and scanned out)–I can’t imagine ever showing it to one of my (prospective) children. The conversation about the rampant homophobic slurs coming out of the kids’ mouths weighed against the film’s content just isn’t worth it–and Monster Squad gets nasty, using terms I didn’t even understand until now. Just really mean-hearted stuff. It might be a fairly accurate representation of how boys talk, but it’s not a documentary about kids being stupid shitheads and its presence is somewhat odd (though, maybe not, given how fanatically Dekker defended it in a recent interview). There’s also a really weird aspect about the two main kids, Gower and Kiger, hugging all the time….

The film definitely suffers from a lack of wonderment or even a comprehension of it. When these kids, who are obsessed with monsters, discover this pretend passion is actual, there’s no moment of recognition. It’s an absurd fantasy and it doesn’t recognize that condition and it suffers greatly for it. However, I can’t believe, how good-looking a film it is in its original aspect ratio. Whatever its significant faults, Monster Squad is a beautifully produced film. It’s like the Olympia of kids movies. No, that one’s a little far, but Dekker’s interview really pissed me off (I mean, seriously, I don’t know if he’d mind the comparison of ideologies).