I Certainly Enjoy RoboCop (WATCH)
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Omni Consumer Products is awarded a contract by the municipal government to privatize the police department in a violent, near-apocalyptic Detroit. To put its crime-fighting cyborgs to the test, the firm sends street officer Alex Murphy (Peter Weller) into an armed brawl with criminal boss Boddicker (Kurtwood Smith) in order to utilize his body to support their untested RoboCop prototype. However, when RoboCop discovers the company's sinister objectives, he turns on his bosses.
It's hard for me to forget my fanboy side when I'm reviewing Robocop, a movie by Paul Verhoeven in which a police officer is killed and turned into the ultimate crime-fighting machine. The movie has a lot of action, great scenes, and a cool idea. Robocop is one of the best movies I've ever seen.
But is Robocop really just a machine, or will the memories of his "human" past keep him from being able to move on?
When Robocop takes to the streets, the action becomes even more exciting, particularly when he faces up against Boddicker and his buddies. Emil (Paul McCrane), one of Boddicker's guys, is threatening a gas station worker with an automatic rifle during Robocop's first night out. In addition to being a thrilling fight scene, Robocop's run-in with Emil brings up flashbacks from his prior life, which he later recounts in flashbacks of his own.
And there are even interesting commercial breaks, like one for a family board game based on thermonuclear war, throughout these broadcasts. As a consequence, you will never be bored watching Robocop since director Verhoeven has thrown in everything but the kitchen sink.
Movie Reviews
If you like films with a message, Robocop is guaranteed to appeal to you.
And if you don't, sit back and enjoy the mayhem!
This is very funny. Before the MPAA Code and Ratings Administration asked for it to be cut down, I don't know if it was even more funny. It is funny in the same way that the assembly line in Chaplin's "Modern Times" is funny. There is something funny about logic being used in a situation where it doesn't make sense.
By mixing technology and a human brain, a young scientist believes he can create a better police officer. When a brave officer (Peter Weller) is slain in the line of duty, he gets his opportunity. Not quite murdered, but close. Something remains, and the first "robocop" is built around that human core - a half-man, half-machine that functions with flawless logic save for the shards of human spontaneity and intuition that may be hiding somewhere in its memory.
The narrative unfolds in a very normal thriller fashion. BUT THIS IS NO ORDINARY THRIFT The talented Dutch director Paul Verhoeven (Soldier of Orange, The Fourth Man) directs. His films defy categorization. This film has slapstick humor. It's romantic. There's a lot of theory about what a guy is. There's also societal satire, as the robocop adopts some of Bernhard Goetz's traits and popularity.
They come right off the production line. You can predict everything that will happen, and most of the time, you are right. In "RoboCop" there is a twist that makes it a different kind of movie.
Ticket Sales
According to The Washington Post, Verhoeven's directing offered keen social satire that would have been a straightforward action picture in the hands of another filmmaker. Others, like Dave Kehr and the Chicago Reader, thought Verhoeven's European filmmaking approach lacked rhythm, intensity, and movement throughout the picture. RoboCop's "sleazily psychological" was not well used by Verhoeven's usual ability to express the "Aryan blandness" via physicality, according to the Chicago Reader. They were both impressed by Weller's performance and the way he managed to evoke compassion and show vulnerability despite wearing a large costume that was partly hidden by the thick mask. "Weller's beauty and grace" imparted a mythological character to his death, according to the Washington Post, making his death even more horrific. For the Chicago Reader, on the other hand, Weller "hardly registered" under the mask. Kurtwood Smith was praised by Variety as a well-cast "sicko sadist" and Nancy Allen as the sole human warmth in the picture.
The film's graphic violence was a hot topic of debate among critics. ED-209's assassination of a company boss, according to Ebert and the Los Angeles Times, "subverted audience expectations" of an apparently serious and simple science-fiction thriller. Ebert wrote. The Los Angeles Times thought that the violent images were able to simultaneously create feelings of sadness and poignancy. RoboCop's critics, such as Walter Goodman and Kehr, were less forgiving, believing that the humor and criticisms of corporate corruption were used as a pretext to engage in violence. A "brooding, tormented quality... as if Verhoeven were both disgusted and enthralled" by the violence, said the Chicago Reader, while The Christian Science Monitor argued that applause for the "nasty" picture revealed a preference for "style over content.
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