Tag Archives: RoboCop

[BASP] The RoboCop Trilogy (1987-93)

The Best of An Alan Smithee Podcast: Episode Two

The RoboCop Trilogy: Robocop (1987, Paul Verhoeven) / Robocop 2 (1990, Irvin Kershner) / Robocop 3 (1993, Fred Dekker)

Originally posted: January 9, 2010

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RoboCop (2014, José Padilha)

RoboCop is terrible. It’s long, it’s poorly directed, it’s badly acted. One almost doesn’t want to acknowledge it because then it has to be discussed. At least in how it does contain some subjects ripe for discussion. Like how a badly doctored script can create frustration at missed potential. Missed potential, however, being a euphemism for “a little better than excruciatingly bad.”

Because RoboCop manages to outdo itself. It’s worse in its whole than in its parts, which is quite an accomplishment given the fractured script styles. The film is so disjointed, so cobbled together, it’s like no one bothered writing bridging scenes. Because it can’t be a stylistic choice of director Padilha; he’s got zero personality (unless he’s the unlikely reason for the film’s multiple Tron and Tron 2 nods). The action scenes in the film are exceptionally unimaginative. It’s like Padilha is directing video game cut scenes; he’s entirely divested in the film’s sets. Though a lot of it appears to be green screens, which doesn’t help any of the actors.

The film has a lot of actors I like. Michael Keaton, Michael Kenneth Williams, Jackie Earle Haley, Marianne Jean-Baptiste, Jennifer Ehle, Zach Grenier, Jay Baruchel. Yes, Jay Baruchel. With the exception of Ehle, all of them are terrible. The film’s script, as far as dialogue goes (because it does have better plotted sequences), is awful. All of it. There’s not a single good moment. It’s Keaton as Steve Jobs and they fumble it because the script with the political stuff doesn’t get to overshadow the script with the “man wakes up a robot cop” script. It’s like watching multiple television pilots, all shot with the same cast and the same bored director, cut together.

It’d be hilarious if there really was a tortured history to the RoboCop remake, full of reshoots and weird test screenings, but there isn’t (at least not according to IMDb). Someone intentionally made a movie this crappy. Here we go. Let’s do a synopsis.

Joel Kinnaman plays a Detroit cop, he talks like he thinks he’s Vin Diesel and struts like he thinks he’s Paul Walker. Yes, I just made that statement. I just referenced The Fast and the Furious and my unlikely familiarity with the franchise. Does Orson Welles get a lot of callouts? No. I just called out Fast and Furious. RoboCop: The New Movie has brought me to that low point. But RoboCop rides a lightcycle from Tron in this movie. How can anyone possibly take it seriously? It’s a guy in a rubber suit. The RoboCop suit is inept. It doesn’t just look like rubber, when Abbie Cornish hugs RoboCop (she’s his wife), her head leaves an impression on the rubber. It’s all so incredibly lazy.

Though if Luc Besson had made it with Bruce Willis as RoboCop, Gary Oldman playing his role with some enthusiasm and camp (it couldn’t be worse than his Robin Williams impression here), Milla Jovovich as Jackie Early Haley, Chris Tucker as Samuel L. Jackson (he’s awful), maybe Ian Holm as Williams (I’m starting to stretch) and Luke Perry as Keaton’s tech visionary… well, it’d be awesome. If Besson had turned a RoboCop remake into a Fifth Element rehash, it’d be awesome.

But RoboCop isn’t sort of a success where you can see the potential for more success. It’s a zero. Paul W.S. Anderson would’ve turned this thing down. It’s not even competent enough to be a Lifetime movie (and a Lifetime movie about a woman who signs away her husband’s rights so he can become a man-cop robot, but who the film treats like he’s not just a few chunks on the coroner’s table, except one hand so he can touch his family and really feel again, would be amazing).

Kinnaman and Cornish are terrible. Padilha’s direction of them is terrible, but their performances are terrible too. Kinnaman’s entirely miscast, entirely out of his depth. Cornish doesn’t have a good part, can’t even do the scenes she does get.

RoboCop is that wonderful, rare animal. It’s so commercial, it won’t try anything. It thinks doing Samuel L. Jackson as Bill O’Reilly as Samuel L. Jackson will be seen as edgy. It’s not even committed enough to try to be edgy.

I can’t even say I “hate watched” it; it’s immediately not worth any investment whatsoever.

Oh, and one more thing. Guns, guns, guns. Action movies with questionable philosophies about fascist police states can’t be action movies with questionable philosophies about fascist police states without loving guns. It’s true. You can do a war movie without loving guns and many have, but you can’t do a movie about “super cops” shooting up the bad guys without gun fetishization.

It’s a no brainer and Padilha drops the ball on it, just like everything else in the film.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by José Padilha; screenplay by Joshua Zetumer, Edward Neumeier and Michael Miner, based on the film written by Neumeier and Miner; director of photography, Lula Carvalho; edited by Peter McNulty and Daniel Rezende; music by Pedro Bromfman; production designer, Martin Whist; produced by Marc Abraham and Eric Newman; released by Columbia Pictures.

Starring Joel Kinnaman (Alex Murphy), Gary Oldman (Dr. Dennett Norton), Michael Keaton (Raymond Sellars), Abbie Cornish (Clara Murphy), Jackie Earle Haley (Rick Mattox), Michael Kenneth Williams (Jack Lewis), Jennifer Ehle (Liz Kline), Jay Baruchel (Tom Pope), Marianne Jean-Baptiste (Chief Karen Dean), Zach Grenier (Senator Hubert Dreyfus), Aimee Garcia (Jae Kim), Douglas Urbanski (Mayor Durant) and Samuel L. Jackson (Pat Novak).


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Robocop (1987, Paul Verhoeven), the director's cut

There are a lot of acknowledged accomplishments to Robocop. Pretty much everyone identifies Rob Bottin and Phil Tippett. Bottin handled the startling makeup, Tippett did the awesome stop motion. Director Verhoeven gets a lot of credit–rightly so–and Basil Poledouris’s score is essential. Big scene or small, whenever Poledouris’s music kicks in, the film hits every note better.

One scene in particular is the Robocop in his old house sequence–which is just after Peter Weller starts to get the role as a character and not an automation; seeing Weller make that transition is amazing because he can’t do it with expressions, only pause.

That scene’s also fantastic for the unacknowledged Robocop accomplishment–Jost Vacano’s photography. He’s the one who makes the film feel real. Well, along with Verhoeven and the writers distaste for the cool-looking future they create. The writers are able to get in some great observations, but they never let the future get too real. It focuses the story’s attention unexpectedly well.

It doesn’t hurt the film’s perfectly acted. Easy examples are Kurtwood Smith and Miguel Ferrer, but everyone’s great. Nancy Allen is the perfect sidekick for Weller. Given how fast their characters get established in the film, they have to work well together immediately and they do.

Verhoeven’s the real star–he, Weller and Bottin, actually. Without Bottin and Weller, Robocop wouldn’t seem real, but without Verhoeven the film wouldn’t work. His approach to the violence–and the quiet–are essential to Robocop’s success.

4/4★★★★

CREDITS

Directed by Paul Verhoeven; written by Edward Neumeier and Michael Miner; director of photography, Jost Vacano; edited by Frank J. Urioste; music by Basil Poledouris; production designer, William Sandell; produced by Arne Schmidt; released by Orion Pictures.

Starring Peter Weller (Officer Alex J. Murphy), Nancy Allen (Officer Anne Lewis), Dan O’Herlihy (The Old Man), Ronny Cox (Dick Jones), Kurtwood Smith (Clarence J. Boddicker), Miguel Ferrer (Bob Morton), Robert DoQui (Sergeant Warren Reed), Ray Wise (Leon C. Nash), Felton Perry (Johnson), Paul McCrane (Emil M. Antonowsky), Jesse D. Goins (Joe P. Cox), Del Zamora (Kaplan), Calvin Jung (Steve Minh), Rick Lieberman (Walker) and Lee de Broux (Sal).


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THIS FILM IS ALSO DISCUSSED ON BASP | THE ROBOCOP TRILOGY.