To celebrate the release of this very movie on home media, June 3^rd was declared “RoboCop Day” in the city of Detroit, providing the perfect excuse to celebrate RoboCop each year.

Released: 5 November 2014
Director: José Padilha
Distributor: Sony Pictures Releasing
Budget: $100 to 130 million
Stars: Joel Kinnaman, Michael Keaton, Gary Oldman, Jackie Earle Haley, and Abbie Cornish

The Plot:
Wounded by a car bomb, top cop Alex Murphy (Kinnaman) is transformed into a cyborg enforcer, or “RoboCop”, by Doctor Dennett Norton (Oldman) in a bid for OmniCorp CEO Raymond Sellers (Keaton) to bypass governmental law forbidding him to sell his militarised technology on American soil.

The Background:
In 1987, director Paul Verhoeven took Edward Neumeier and Michael Miner’s satirical commentary on 1980s commercialisation and media and gave us RoboCop, a modest critical and commercial success. RoboCop 2 (Kershner, 1990) released to mixed reviews and a lower box office but the franchise was essentially killed off with RoboCop 3 (Dekker, 1993), a universally panned, kid friendly affront to the violent satire of the first film. While RoboCop limped along in cartoons, toys, and low budget, made-for-television affairs, talks of a remake began circulating back in 2005/2006. Darren Aronofsky was initially tapped to direct but financial concerns saw the project repeatedly stall, leading to José Padilha taking his place and desiring a new, contemporary direction for the concept. Although Michael Fassbender and Russell Crowe were courted, Joel Kinnaman won the lead and the project immediately came under scrutiny when numerous media outlets criticised the new design for the title character, which was more akin to the Bat-suit featured in the Dark Knight trilogy (Nolan, 2004 to 2007). Padilha was said to be frustrated by the project and studio interference and, though RoboCop performed surprisingly well at the box office, reviews were largely unimpressed. Judged as inferior to the original, RoboCop as criticised for its dumbed-down take and uninspired execution. Though some praised the cast and the ambition on offer, plans for a sequel were cancelled in favour of a legacy sequel, which also soon fizzled out in favour of a proposed streaming series.

The Review:
The world of RoboCop is strikingly similar to ours, like in the original movie, though set a little further in the “near future”. In this depiction of 2028, OmniCorp is making headlines with their robotic peacekeeping corps, led by tactician Rick Mattox (Haley), which have been successfully sold to and utilised by the United States military in numerous overseas ventures. Made up of drones, humanoid robots (EM-208s), and larger Enforcement Droid-209/ED-209 automations, these efficient and pragmatic robots are reported to have spared countless American lives and been instrumental in “pacifying” foreign markets. At least, this is what the extremely biased, right-wing, ultra patriot Pat Novak (Samuel L. Jackson) regularly touts on his Novak Element television show. Far from the breezy, light-hearted nature of Media Break, The Novak Element aggressively criticises Senator Hubert Dreyfus (Zach Grenier), whose bill forbids the use of drones and robots on American soil, and champions OmniCorp CEO Raymond Sellers as a “true patriot” who’s being held back from bringing the same peace and prosperity to the American people. Dreyfus’s objections are pretty simple: a robot cannot be held accountable and feels no emotion about life, and is therefore unqualified to take a life. While this is a commendable moral position to take, it is interesting, confusing, and hypocritical that Dreyfus is seemingly unconcerned about the lives taken by the EM-208s, however this is a recurring element in this version of RoboCop. Novak repeatedly shuts down any discussions that go against his pig-headed beliefs, Sellers is sold as a visionary who’s protecting America’s interests, but the primary concern of everyone (even if their opinions differ) is on safeguarding American lives and championing the United States as the greatest country in the world. However, the American public is split right down the middle when it comes to having robot peacekeepers walking their streets, largely because they (like Dreyfus) don’t agree that an automaton should have the power to end an American’s life.

Despite OmniCorp making huge profits from their overseas ventures and the prosthetic research conducted by their chief scientist, Dr. Norton, Sellers is frustrated by Dreyfus’s bill and eager to capture a majority stakehold on domestic soil. Thus, to circumnavigate the specific wording of Dreyfus’ bill, Sellers brings in Dr. Norton and Tom Pope (Jay Baruchel) and Liz Kline (Jennifer Ehle), OmniCorp’s heads of marketing and legal affairs, respectively, to cook up a new “product” by placing a man inside a machine and therefore appease concerns. Although OmniCorp have a range of critically injured candidates and amputees to choose from, Dr. Norton rejects them on the basis that they lack the psychological strength to endure what’s essentially a horrendous full body prosthesis. Lucky for them, the perfect candidate lands in their laps when driven and determined cop Alex Murphy is horrifically injured in a car bomb courtesy of notorious drug dealer Antoine Vallon (Patrick Garrow). Like in the original film, we spend a bit of time with Murphy prior to his accident to get a sense of his character and learn that he detests crooked cops and is fixated on bringing down Vallon, even if it means going against the orders of his commanding officer, Karen Dean (Marianne Jean-Baptiste). Suspecting that Vallon has eyes and ears within the Detroit police department, Murphy limits his trust to his partner, Jack Lewis (Michael K. Williams) and is devastated when their unauthorised undercover operation ends with Lewis in hospital from a gunshot. Unlike in the original film, we see Murphy interacting with his wife and son, Clara (Cornish) and son David (John Paul Ruttan), seeing that Murphy’s a doting father and still has a close relationship with Clara, even if it seems strained by his work. Clara’s thus devastated to learn of Murphy’s critical condition, which would leave him deaf, partially blind, paralysed, and maimed, and covered in severe burns. It’s therefore out of sheer love and desperation (and a little coercion from OmniCorp) that Clara consents to have Murphy transformed into a cyborg, with Dr. Norton personally overseeing Murphy’s recovery. In easily the film’s most horrific scene, Murphy is horrified to learn what he’s become and almost demands to be put out of his misery, but Dr. Norton convinces him to keep going, if only for the sake of his family.

This version of RoboCop delves a lot deeper into the emotional and psychological turmoil faced by Murphy after his transformation. Stripped of 98% of his human anatomy and understandably distressed by his somewhat monstrous appearance, Murphy demands to never again be seen without his suit and battles depression, doubt, and sly persecution from Mattox, who scoffs at the idea of compromising a machine’s efficiency with organics and a conscience. Despite Dr. Norton’s pride in his work and faith in Murphy’s abilities, it turns out Mattox is right: murphy’s human instincts make him dramatically less efficient than the EM-208s. Unimpressed by what he sees as RoboCop’s “imperfections”, Sellers demands a workaround so he can sell RoboCop as a sleek, sexy, impressive product and Dr. Norton’s therefore forced to implant a new chip into Murphy’s brain. Now, when his visor goes down, RoboCop’s artificial intelligence takes over, though Murphy believes he’s in full control, thus appeasing Sellers and completely undermining the entire point of the project since it’s still a machine pulling the trigger. Then, to make matters even more laughable, Dr. Norton and his team decide the best time to upload the entire criminal database and internet access into RoboCop is right before his public unveiling, causing Murphy to have a seizure and forcing Dr. Norton to intervene again. This time, Murphy is practically lobotomized and little more than a cold, calculating machine with a human face (…and hand). Effectively reduced to the pragmatic, directive-compelled RoboCop of the first film, Murphy ignores social graces and his family in favour of hunting down Detroit’s most wanted. However, when Clara begs Murphy to come home and assuage David’s anxieties, Murphy’s human nature overrides his programming and drives him to get back on mission. Specifically, he accesses CCTV and other archives to not only uncover corruption in the police department that extends to Chief Dean, but also solve his own murder and finally bring Vallon to justice, though this defiance naturally leads him on to a collision course with OmniCorp.

Far from a scheming conglomerate full of well-dressed executives looking to profit from Detroit’s misery, the new Omni-Consumer Products (OCP) is largely embodied by Raymond Sellers. A visionary entrepreneur, Sellers is a silver-tongued salesman who arrogantly ignores focus group feedback and pushes his own agenda for RoboCop, reasoning that people don’t know what they want until they get it and that simply placing a man in a machine and removing his humanity will silence his doubters and increase OmniCorp’s profits. Played with the perfect balance of charisma, smarm, and slimy superiority, Keaton presents Sellers as an industrious and charitable businessman who’s genuinely offering people a second chance through Dr. Norton’s robotics work and safeguarding American lives with his machines. However, behind all that is a corporate magnate who cares only about increasing his already considerable wealth. He makes promises to Clara that Murphy will be returned to them and then denies her access to him, threatening legal action if she speaks out; he disregards Dr. Norton’s frankly genius work and putting a career cop inside a machine in favour of stripping away Murphy’s instincts; and doesn’t hesitate to order RoboCop’s destruction once he’s outlived his usefulness. Indeed, when Murphy regains his humanity, Sellers simply spins a story about how Murphy’s suffered a psychotic break and his machine programming has turned him into a killer, despite such a story only working against the deployment of automations in the streets! While Sellers is eventually forced to get more hands on when he basically kidnaps Clara and David, Mattox isn’t afraid to test himself and his EM-208s against RoboCop. Derogatorily referring to Murphy as “Tin Man” and openly criticising him at every turn, Mattox relishes proving his superiority over RoboCop but is ultimately and ironically, undone by Murphy’s very human ally, Lewis. I enjoyed Mattox far more than Vallon, a crime boss who’s infiltrated the police department and whose grudge against Murphy causes RoboCop’s creation. A far cry from the wicked Clarence Boddicker (Kurtwood Smith), Vallon is basically an afterthought. There’s almost no catharsis when RoboCop catches up with him and I would’ve much preferred Mattox being given an expanded role as the one who injured Murphy to kick-start Sellers’ scheme.

The Nitty-Gritty:
Though RoboCop also has a distinctly loud and on-the-nose political agenda, it focuses all its satire into Pat Novak. RoboCop comments upon America’s perceived superiority over the rest of the world, the media’s flagrant bias towards far-right thinking, and touches upon prejudices. These are largely embodied by Mattox, who’s the only one who voices criticism of RoboCop, but also extends towards the foreign nations brought under heel by OmniCorp’s technology. RoboCop has always juggled themes of “man vs. machine” and questions regarding the human soul, and these elements return in this remake, where Murphy’s adjustment to his transformation is at the forefront. Unlike in the original films, where it’s ambiguous how much of Murphy is alive or just memories in RoboCop, this film explicitly states that Murphy is still alive and functioning, just without his biological body. His brain is now partially cybernetic, giving him unprecedented access to criminal databases, CCTV, and augmenting his strength and reflexes, but he’s not a “ghost in the machine”: he’s Alex Murphy with a full body prosthesis. Thus, Murphy reluctantly agrees to test his newfound cybernetic armour against the EM-208s and to reunite with his family, though he remains incredibly self-conscious and uncomfortable with his appearance. Although this RoboCop isn’t bound by directives, he can be remotely shut down and even have his will suppressed through procedures and programming, turning him into a stoic robot who effortlessly hunts down criminals. Yet, Murphy’s humanity and emotions are powerful enough to break this programming, reasserting his personality and compelling him to avenge his woes upon Vallon and confront the corruption in the police department. Despite him callously ignoring them, Clara and David remain devoted to Murphy and are distraught by OmniCorp’s lies. Placing additional emphasis on Murphy’s family was a nice touch, though he keeps his distance even before Dr. Norton suppresses his emotions simply because he’s uncomfortable in his new body and would much prefer to be dead. It isn’t until the finale, after reaffirming his humanity, that Murphy comes to accept his new life and be more comfortable around his loved ones.

If you’re hoping for the same action-packed gore and gleeful cussing of the original, then I’m afraid you’ll be disappointed by this distinctly toothless remake. Murphy is caught in a car bomb rather than shot to pieces and RoboCop primarily fires a high-powered taser gun rather than blowing limbs off. RoboCop’s biggest action scenes also take place either in a virtual simulation or against automatons, severely reducing the film’s body count until Lewis joins him in busting up Vallon’s operation. On the plus side, RoboCop’s suit looks fantastic. While, at times, the illusion is lost, particularly when Sellers demands a black paint job, the initial suit is an impressive modern reimagining of the original. I particularly like the futuristic visor and the depiction of RoboCop’s helmet, which was the one inconsistency in the previous films, and Kinnaman’s movement in the suit. While he’s not as stiff and robotic as Peter Weller, Kinnaman still echoes some of that performance, especially when Murphy first wakes up and acclimatises to the suit. Once the AI takes over, RoboCop moves with a beautiful, fluid grace that shows the ghost of what this film wanted to be. While RoboCop rides around on an awesome motorcycle and sports an influx of visual aids, his black suit is really unfitting and makes him look ridiculously generic. He just looks like Christian Bale’s Bruce Wayne/Batman a lot of the time, which in turn makes the suit look fake and plastic-y. RoboCop does boast some impressive visual effects, however. The EM-208s look amazing, especially marching through the streets and when sparring with RoboCop, and the prosthetics seen in Dr. Norton’s lab are really well realised. The most impressive effect is saved for the unsettling scene where Murphy sees the full extent of his injuries, which have left him simply the remains of a head, a set of lungs, and a single hand. While the ED-209s lack the personality and clunky build of the original, they’re still an impressive walking tank and it was fun to see a troop of them in action overseas, and standing in RoboCop’s way in the finale. Sadly, RoboCop plays it far too safe regarding its action, sucking out all the gory fun and replacing it with a dull pace that really causes the film to drag. It doesn’t even use Basil Poledouris’ iconic score, save for the opening titles, favouring music by Pedro Bromfman that’s as generic and forgettable as the rest of the film.

After Murphy’s breakdown sees Dr. Norton suppress his emotions, RoboCop becomes a hit with consumers and the public, finally giving Sellers the sway to challenge the Dreyfus Act. However, when Clara gets through to Murphy and his humanity forces its way back into the spotlight, Sellers cuts his ties with the project and orders Mattox to destroy RoboCop, ready to sell the idea that Murphy suffered a psychotic break and died from a seizure. To keep Clara from publicly criticising OmniCorp, Sellers brings her and David in to the deliver the news, confident that he’s swayed Dr. Norton by promising to further fund his research, only for the remorseful doctor to betray him, remove Mattox’s ability to shut Murphy down, and reveal the truth to Clara. While Murphy is furious at Dr. Norton for having lied to him, he forces his way past ED-209s and Mattox himself, suffering tremendous damage in the process thanks to Mattox’s superior firepower. Thanks to the intervention of his fellow officers, particularly Lewis, RoboCop reaches the rooftop, where Sellers is preparing to escape (while still playing the benevolent role with Clara and David). Unfortunately, Murphy’s programming won’t allow him to arrest or harm Sellers, who openly taunts him, threatening to kill Murphy and his family and pointing out that Murphy can’t do anything to stop him since he’s “just a robot”. Despite the incredible pain and the forcefulness of his programming, Murphy asserts enough will to fatally shoot Sellers at the same time as the devious executive shoots him. It’s a very different ending to the original, where Murphy confidently confronted OCP’s executives and asserted himself. Here, Murphys “dead or alive, you’re coming with me” line barely makes any sense and, since he’s only kept from acting because of Mattox’s special wrist bands. It might’ve been better if Clara or David had rushed Sellers to rip this from him and give Murphy the chance to fire. Regardless, Murphy is repaired and placed back in a more fitting suit, now having accepted himself and ready to embrace his newfound life. Pat Novak, however, is incensed that a “Motherf*****” like Dr. Norton is walking free after he spoke out against OmniCorp to keep the Dreyfus Act alive, though he remains adamant in his belief that America is the greatest country in the world and that, one day, her citizens will see sense and allow robots to keep the peace through good, old fashioned fascist oppression.

The Summary:
I’ve been a fan of RoboCop since I was a little kid, when I first saw the movie and was wowed by its over-the-top gore and fantastical main character. As big a fan as I am of the sequel, even I have to admit that the franchise basically peaked with the first movie and it’s been downhill ever since. Thus, I was somewhat curious when the remake was announced and went to see it opening week simply because I’d never had the chance to see a RoboCop film in the cinema before. Unfortunately, RoboCop is as disappointing now as it was back then. The thing about remakes is, you kinda need to do something different with the concept to make it stand out, otherwise it just feels like a needless rehash. RoboCop tries to do something different by focusing more on Murphy, his struggle to adapt to his new life, and his family turmoil, but it’s lost beneath a middling plot, forgettable characters, and a truly uninspired design for the character. It’s such a shame as the suit does look good and Kinnaman moves really well in it, but then they paint it black and it becomes the most generic thing I’ve ever seen. As if lacking the gratuitous violence, blood, and cursing wasn’t bad enough, RoboCop is almost completely devoid of satire save for Pat Novak and the underlying hypocrisy of OmniCorp’s motivations. Admittedly, these elements have a scary relevance in modern times, where bias right-wing media spreads fear and hatred, but all the elements that made RoboCop fun have been as stripped away as Murphy’s body. I didn’t mind the deeper dive into Murphy’s acclimation to his new abilities, but the pacing flip-flopped all over the place between his emotions (or lack thereof). It’s almost criminal how unfulfilling Murphy’s vendetta against Vallon was and how wasted Mattox was by comparison. Hayley and Keaton stole the show here, playing their roles with joyful relish, but Kinnaman is no Peter Weller and this is no RoboCop. As a standalone sci-fi concept, it’s decent enough, but it’s called RoboCop and fails to be anything but a surface level rehash of the original film, with none of the fun or enjoyable elements to make it an instant classic or anything more than a footnote in the history of sub-par remakes.

My Rating:

Could Be Better

Did you enjoy the RoboCop remake? Were you disappointed by how toothless it was? What did you think to the focus on Murphy’s emotional struggle and his family? Did you also find the film dragged or did you enjoy the slick action? What did you think to the new suit and RoboCop having a human hand? Which RoboCop movie is your favourite? How are you celebrating RoboCop Day today? Whatever you think about the RoboCop remake, feel free to drop your thoughts below, support me on Ko-Fi, and be sure to check out my other RoboCop content!

To celebrate the release of the dismal RoboCop (Padilha, 2014) on home media, June 3^rd was declared “RoboCop Day” in the city of Detroit. While that movie wasn’t too impressive and had nothing on the original RoboCop (Verhoeven, 1987), this does give us the perfect excuse to talk, and celebrate, all things RoboCop on a specific day each year.

Released: 5 November 1993
Director: Fred Dekker
Distributor: Orion Pictures / Columbia Pictures
Budget: $22 million
Stars: Robert Burke, John Castle, Remy Ryan, Bruce Locke, CCH Pounder, Jill Hennessy, and Nancy Allen

The Plot:
Cyborg law enforcer RoboCop (Burke) is torn between upholding his pre-programmed directives and assisting desperate civilians when Paul McDaggett (Castle) and his violent militia aggressively evict people on behalf of Omni Consumer Products (OCP) to begin construction of Delta City.

The Background:
In 1987, director Paul Verhoeven turned Edward Neumeier and Michael Miner’s satirical take on 1980s commercialisation and media into RoboCop. A modest critical and commercial hit, RoboCop was followed by a sequel in 1990. Unfortunately, not only was Frank Miller’s script judged “unfilmable” (though many aspects were later repurposed into a comic book and this third entry), but Irvin Kershner’s RoboCop 2 was met with mixed reviews and a reduced box office. Miller returned to write the third film and was again frustrated by the lack of influence he had on the production; he concluded that the only way to circumvent this was to become a director. Although RoboCop’s supporting cast returned for the third film (despite some reservations), star Peter Weller declined to appear in favour of joining the cast of Naked Lunch (Cronenberg, 1991). He was replaced by Robert Burke, who struggled with the impressive Robo-Suit since he was taller than his predecessor and the costume wasn’t altered to accommodate this. Although RoboCop 3 was completed by 1992, the film’s release was delayed almost an entire year due to Orion Pictures going bankrupt and to increase its odds at the box office. Consequently, not only was the plot revealed by the tie-in videogame ahead of schedule, RoboCop 3 also failed to reach $50 million at the box office. RoboCop 3 was also subjected to scathing reviews; critics targeted the film’s tone, derivative plot, and mindless narrative, and very few have anything positive to say about this toned-down entry in the series. Ironically, RoboCop continued to be marketed as a family-friendly franchise going forward and it would take over five years for anything even remotely resembling the violent satire of the original to be evoked in a new production.

The Review:
It goes without saying that RoboCop has earned its place as a classic sci-fi action flick; it’s perfect blend of social satire, gory violence, and endlessly entertaining action was expertly balanced with some top-notch special effects and a poignant message about humanity and identity. I might be alone in thinking this, but RoboCop 2 remains an under-rated entry in the franchise for me; sure, it regresses RoboCop’s character a bit and retreads some of the same narrative beats, but it’s still got that same tongue-in-cheek sense of humour and some impressive practical effects make it well worth a re-evaluation. Since both films were such a big part of my childhood, I remember being excited for a third entry and things get off to a decent enough start in RoboCop 3. Detroit is worse than ever now that OCP has finally started breaking ground on Delta City, with eviction notices being served to the poorest and most destitute areas of the city like Cadillac Heights, demolition crews flooding the streets with the homeless, and fascist ex-military Urban Rehabilitators (or “Rehabs”) forcing people from the city or simply out-right executing them.

When we’re first introduced to RoboCop, we’re once again back to square one. While RoboCop still retains some aspects of his former personality and exhibits human compulsions such as loyalty and independence, he’s still bound by his four Prime Directives and subject to the whims of his creators. He’s packing some new toys this time around, most prominently his new arm cannon that lets him blast perps with a machine gun, fire rockets, and blast out a flamethrower, but he later also makes use of a prototype flight pack that also doubles as a recharge point for him. All these bells and whistles are great, but they don’t make up for the fact that Peter Weller has been replaced by the far less capable Robert Burke. Burke does a decent job emulating Weller’s performance but it’s just not the same, especially in his stilted delivery. While RoboCop is tended to by newcomer Doctor Marie Lazarus (Hennessy), his independence riles up the OCP’s newest representative, Jeffrey Fleck (Bradley Whitford), a leering, slimy corporate stooge who’s so frustrated by RoboCop’s humanity that he orders his emotions be circumvented with a special chip. Luckily, Dr. Lazarus recognises that RoboCop’s instincts and Murphy’s lingering personality are essential to the cyborg’s humanity and destroys the chip, allowing RoboCop to continue his duties. This does, however, bring him into further conflict with OCP’s more totalitarian methods; the Rehabs conflict with RoboCop’s Prime Directives but, in the end, his morals and humanity win out and he chooses to defend the helpless and homeless from McDaggett, a choice that leaves him severely damaged and branded a murderous fugitive by OCP’s PR team. RoboCop ends up in a hell of a state; a single blast from McDaggett’s grenade launcher is enough to almost do him in and leaves him in the struggling hands of the city’s destitute, who are led by feisty and outspoken Bertha (Pounder).

Things don’t go so well for Robo’s long-time friend and partner, Anne Lewis (Allen). Both Dr. Lazarus and Lewis care for RoboCop; they’re the closest things he has to friends and can tell that he’s clearly conflicted regarding OCP’s “urban rehabilitation” project, which brings up painful memories of his former wife and child. Although she’s able to hold her own against the “splatter punks” at the start of the film, Lewis makes the rookie mistake of forgetting her body armour when she rushes to help RoboCop track down the resistance. Out of loyalty to her partner and seeing the state of the displaced residents of Cadillac Heights, Lewis joins RoboCop in opposing McDaggett and is summarily gunned down for her troubles, dying in RoboCop’s arms. Though he inexplicably forgets this promise to avenge her, RoboCop immediately storms the Rehab base after being repaired by Dr. Lazarus, unopposed by Sergeant Warren Reed (Robert DoQui) and his fellow officers despite the warrant for his arrest, to confront McDaggett, only to learn that Coontz (Stephen Root), a disgruntled member of Bertha’s resistance, has sold them out to McDaggett. RoboCop arrives too late to help, leaving Bertha and most of her followers dead, and both Dr. Lazarus and young orphan girl Nikko Halloran (Ryan) taken as hostages. Yes, inexplicably RoboCop, the all-action cyborg who made his name blasting would-be rapists in the dick, is saddled with a bright-eyed kid who’s conveniently a genius hacker capable of reprogramming an Enforcement Droid-209 (ED-209) and who helps RoboCop rekindle his paternal instincts. After being separated from her parents, who are subsequently executed, Nikko is taken in by Bertha and the resistance and encourages them to shelter RoboCop after he’s damaged defending them. Although they’re woefully under-equipped, outgunned, and forced to hide out in the sewers, the resistance is surprisingly capable; they boobytrap manholes to keep out unwanted visitors, use gadgets to change traffic lights and cover their escape, and it only takes about four of them to carry RoboCop into their hidden base whereas it took a dozen or so men in the last film. Although Nikko is a tech-savvy Robo fan and Moreno (Daniel von Bargen) repairs RoboCop’s body work, the resistance have no hope of repairing the cyborg so Nikko goes to Dr. Lazarus for help.

Although OCP are making major progress preparing Detroit for aggressive renovation, the malevolent company is deep in the red; close to bankruptcy and being bought out by the Japan-based Kanemitsu Corporation, the new OCP Chief Executive Officer (CEO) (Rip Torn) and returning aide Donald Johnson (Felton Perry) have no choice but to rely on McDaggett and his Rehabs. Thanks to OCP controlling the media, the Rehabs are sold as a gentle, peacekeeping force who have people’s best interest at heart but the truth couldn’t be more different. McDaggett and his mercenaries are cruel and violent and tear through Cadillac Heights like a bull in a China shop. McDaggett is easily the best part of the film, chewing the scenery at every opportunity, calling everybody “chum” with a snarky sneer, ruthlessly waging war against the destitute civilians, and exhibiting an open prejudice against RoboCop and the idea of him being assigned to the Rehabs. When Nikko broadcasts the truth about McDaggett to the world, OCP’s stock plunges and, unwilling to shoulder the blame or listen to the CEO’s blustering threats, McDaggett plots to recruit the city’s police force in stamping out the resistance once and for all. However, when Reed and the other cops give up their badges and pensions rather than compromise their moral integrity, McDaggett is just as happy to arm the splatter punks, leading to an all-out war on the streets pitting the cops and the resistance against McDaggett’s forces. Unable to make good on their debts and promises, OCP lose all favour with the Kanemitsu Corporation, who send their unnervingly human “Otomo” androids (Locke) to make up for the CEO’s blunders. As you might expect from Japanese-manufactured product, the Otomos are far more versatile and capable than RoboCop, who looks like a tinker toy in comparison. Although silent and stoic, the Otomos are not only more outwardly human (one even smokes!) but they’re more agile, adaptable, and mobile, meaning they’re easily able to best RoboCop in combat and re-endanger his life with just a few blows and only losing out to him due to Robo packing superior firepower.

The Nitty-Gritty:
RoboCop 3 once again retreads the same ground as the last two movies when it comes to RoboCop’s story arc. Still lacking the fully human personality he fought so hard to regain at the end of the first film, RoboCop is again portrayed as struggling to discover and showcase his humanity due to his stringent programming and directives. Although it’s been very well established that he’s just as human as he is a machine, and everyone in the precinct openly and affectionately refers to him as “Murphy”, RoboCop’s emotions are again questioned by OCP, who seek to suppress them to make him a cold, calculating machine. More than ever before, RoboCop openly defies his creators despite the conflict this causes his system; perhaps it’s his defiance of Directive Four (“Never oppose an OCP officer”) which explains why RoboCop is so damn weak in this film. It seems he’s constantly on the brink of death and is easily disabled by shots he would previously shrug off, though this frustrating element does add to his vulnerability as a character. This is further emphasised in his empathy for the resistance, particularly Nikko, who forms a fast bond with RoboCop out of sheer awe (she is a proper techno-geek, after all) and he awkwardly rediscovers his former paternal instincts through his relationship with her. Again, it ties into an exploration of RoboCop’s vulnerable humanity (and is certainly less questionable that the weird sequence where Dr Lazarus purges RoboCop’s Prime Directives…again…and it seems to imply he has romantic feelings for the women in his life) but it just doesn’t fit the tone of the franchise. Maybe the filmmakers wanted to appeal to the little kids who had inexplicably latched onto the character, maybe they wanted to emulate Terminator 2: Judgment Day (Cameron, 1991) but, whatever their reasons, all they ended up doing was subjecting audiences to an annoying little brat who’s too smart for her own good.

And it’s a shame as RoboCop 3 has a few redeemable elements to it. Basil Poledouris returns with his rousing score and the suit looks better than ever, especially RoboCop’s fancy new arm attachment that he sadly doesn’t use often enough (probably because it’s ridiculously overpowered and that doesn’t fit the theme of the movie for fragile old RoboCop). The city is even more dangerous and depressing as ever; described as a “warzone”, riots and violence run rampant from all sides, leading to the police department and oppressed citizens joining forces to fight back against the tyrannical OCP. While the film definitely veers more towards family friendly content, RoboCop 3 continues to be violent and full of social satire; in this case, it’s a commentary on how big corporations can control the media to twist the narrative in their favour and the juxtaposition of the Rehabs’ squeaky-clean public face with the brutal reality of their actions. This is best evidenced not just in the returning Media Break sections but also in the amusing animated advertisement for “Johnny Rehab” apparel that seems to be a commentary on R-rated movies like RoboCop being sold to children as toys. Although ED-209 makes a reappearance here, it’s little more than a cameo that further demeans the unreliable ‘droid and we’re denied a rematch between it and RoboCop. Thanks to spending most of the movie close to death, RoboCop can’t simply gun down his enemies like usual, meaning anticipation is high for his battle against Otomo. Unfortunately, as great and under-rated as Bruce Locke is, this fight is hampered by the slow, sluggish RoboCop, who lacks the reflexes and range of movement necessary to match his faster, more competent rival. Luckily for RoboCop, the Otomos prove as weak as he is in this movie and are easily dispatched, but these fights are definitely a far cry from the cyborg-on-cyborg action from the aforementioned Terminator 2. RoboCop 3 tries to make up for it with RoboCop’s new jet-pack attachment, which allows him to swoop in and save the day in the final act, but sadly this only appears very briefly and the composite effect used to bring it to the screen is pretty poor, which is a shame considering how cool the idea of a flying RoboCop is and how good the fire stunt on RoboCop was in the opening scenes.

After being slandered in the media, RoboCop is branded a fugitive, allowing McDaggett to fulfil his ambition of destroying the cyborg officer, which both he and the CEO believes will dishearten the resistance and allow them to sweep through Cadillac Heights and salvage their reputation. When Johnson suggests recruiting the city’s cops to join the effort, Reed and the others walk out and add their numbers to the resistance, co-ordinating the rag-tag rebels in standing against the Rehabs and the crazed splatter punks. Although RoboCop loses his chance at nailing McDaggett following a comical car chase in a pimped out lowrider, McDaggatt gets the last laugh by massacring the resistance base and even betrays the CEO after colluding with Kanemitsu (Mako) to level Cadillac Heights to make room for their own designs for the city. After barely besting Otomo and levelling the playing field for the cops and resistance, RoboCop storms into the OCP tower to confront McDaggett. Though two Otomos attack him, Nikko is able to reprogram the two androids into targeting each other using her magic laptop. Despite him having gone “war wacky” and craving all-out conflict, McDaggett is incensed by this as the Otomos are rigged to self-destruct, spelling doom for everyone in the tower. Luckily, RoboCop latches onto his jet-pack and flies Dr. Lazarus and Nikko to safety, leaving McDaggett and everyone in the building to perish in the blast. In the aftermath, a humbled Kanemitsu bows to RoboCop out of respect and summarily fires the CEO for his incompetence since OCP’s stock is in the toilet and RoboCop resolves to return to duty policing the streets, now once again free from his restrictive Prime Directives and able to think for himself.

The Summary:
How the mighty have fallen! RoboCop 3 is such a massive disappointment because it comes so close to being a halfway decent entry in the franchise but fumbles its execution in almost every way possible. The score is back, the suit still looks amazing, and I really enjoy RoboCop’s new toys and gadgets, but the man in the suit is an uninspiring void who tries far too hard to emulate Peter Weller’s incomparable performance rather than putting his own stamp on the iconic cyborg. I enjoy the central premise of the film, which sees a desperate OCP using all their resources (and brutal violence) to speed up their development plans for Detroit, but any intrigue this plot may have is quashed by some strange attempts at humour. RoboCop 3 feels like a pale imitation of the previous films; it tries to be comparably violent but it’s a toothless execution, and any attempts at satire and social commentary land flat as it feels like everyone’s just phoning it in. It’s a shame as Lewis’s death is actually quite emotional, but the new cast just isn’t as inspiring or memorable; Nikko, especially, stands out as a particularly grating inclusion, one that showed just how far the franchise had fallen into impotency since the uncompromising first film. There is some decent action and special effects sequences, but they’re juxtaposed with RoboCop’s clunky ineffectiveness in a straight-up fight and some awful composite effects that really have me longing for the stop-motion techniques of the last two films. One saving grace is John Castle, who really hams it up as the despicable McDaggett, but even his performance can’t excuse Rip Torn’s bombastic turn as the CEO, which lacks any of the subtlety we saw from previous OCP executives. Ultimately, RoboCop 3 is a film geared more towards kids and young teenagers, those who aren’t quite old enough to watch the first two films but want to dip their toe in the franchise. Even so, I’d recommend simply waiting until they’re old enough to watch the first movie, or bite the bullet and show them that film ahead of time, and just skip this one completely as there’s very little on offer here beyond RoboCop’s new toys.

My Rating:

Terrible

Did you enjoy RoboCop 3? Were you disappointed by the more toothless approach the film took? What did you think to RoboCop opposing his creators to defend the city’s oppressed citizens? Were you also annoyed to see him partner with a child? What did you think to the Otomos and RoboCop’s new toys? Which RoboCop movie is your favourite? How are you celebrating RoboCop Day today? Whatever you think about RoboCop 3, feel free to drop your thoughts below or leave a comment on my social media and be sure to check out my other RoboCop content!

To celebrate the release of the dismal RoboCop (Padilha, 2014) on home media, June 3^rd was declared “RoboCop Day” in the city of Detroit. While that movie wasn’t too impressive and had nothing on the original RoboCop (Verhoeven, 1987), this does give us the perfect excuse to talk, and celebrate, all things RoboCop on a specific day each year.

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Released: 22 June 1990
Director: Irvin Kershner
Distributor: Orion Pictures
Budget: $20 to 30 million
Stars: Peter Weller, Nancy Allen, Tom Noonan, Belinda Bauer, Gabriel Damon, and Daniel O’Herlihy

The Plot:
Former police officer-turned-cyborg law enforcer RoboCop (Weller) becomes embroiled in a scheme by Omni Consumer Products (OCP) to bankrupt and take over the city. Faced with an identity crisis, and interference by psychologist Doctor Juliette Faxx (Bauer), RoboCop also comes into conflict with a vicious gang of drug dealers, led by zealot Cain (Noonan), who are spreading a highly addictive drug throughout the city.

The Background:
In 1987, Edward Neumeier and Michael Miner crafted a satirical take on 1980s commercialisation and media that director Paul Verhoeven turned into RoboCop. A modest hit, RoboCop was met with generally positive reviews and the studio urged Neumeier and Miner to pen a sequel. Unfortunately, mounting deadlines, a writer’s strike, and a breach of contract meant that their tentative plans to have RoboCop battle the complex, satirical politics of the future in RoboCop 2: The Corporate Wars never came to pass. Instead, writing duties passed to noted comic book writer Frank Miller. Unfortunately, the gritty violence and scope of Miller’s script was deemed “unfilmable”, though he would cameo in the film and later turn his rejected ideas into a comic book. RoboCop 2’s production continued to be stressful. Producer Jon Davison was already against the idea of sequels, and struggled to secure a director for the project since Verhoeven was busy making Total Recall (ibid, 1990). The studio announced a release date before the story was completed, resulting in a rushed filming schedule. Even star Peter Weller was reluctant to return and critical of the script, but reportedly enjoyed the shoot and praised the director’s drive and enthusiasm. Both special-effects guru Phil Tippett and suit designer Rob Bottin returned to work on the sequel; Bottin gave the suit a sleek new colour scheme and made it much easier to put on and take off, drastically reducing Weller’s time in the make-up chair. RoboCop’s cybernetic antagonist was brought to life using tried-and-tested special-effects techniques such as animatronics, miniatures, and painstaking stop-motion; RoboCain even exuded emotion thanks to a rudimentary computer-generated face. Despite RoboCop infamously making an appearance at World Championship Wrestling’s (WCW) Capital Combat pay-per-view to promote the film, RoboCop 2’s worldwide gross of $45.7 million was noticeably less than its predecessor, and the film was met with mixed reviews. While some praised its allusions to classic sci-fi and horror classics and (like myself) consider it an under-rated entry, critics bemoaned its redundant plot, excessiveness, and the depiction of a child as a violent drug lord. Still, we did get the aforementioned comic book detailed Miller’s rejected ideas, a videogame adaptation, and (eventually) a third film that was way, way worse in almost every aspect.

The Review:
Picking up about a year after the first film, the first thing you might notice about RoboCop 2 is that RoboCop himself has taken a bit of a step back. In the first film, the bulk of the narrative was focused on RoboCop regaining his memories and his humanity, evolving from a preprogramed tool of the malevolent OCP and reclaiming his status as a free-thinking human. However, in RoboCop 2, much of his stoic, robotic demeanour has returned to the forefront; his partner and friend, officer Anne Lewis (Allen), still affectionately refers to him as “Murphy” and he continues to exhibit a modicum of personality in the way he confronts and addresses others, but it’s like he’s been factory reset to where he was about mid-way through RoboCop rather than being the confident, free-minded Murphy we saw at the conclusion of the last film. Haunted by Murphy’s feelings and memories, RoboCop has taken to passing by the home of his former wife and child, Ellen (Angie Bolling) and Jimmy (Clinton Austin Shirley), presumably out of the temptation to reveal himself to them, which results in Ellen being so emotionally tormented that she’s filing a lawsuit against OCP. Despite being fully accepted by Lewis, Sergeant Reed (Robert DoQui), and his fellow officers, all of whom treat him as Murphy reborn, OCP force (basically bullied) RoboCop into admitting that he’s unable to provide for his former family as a man and is “simply a machine”.

Clearly heartbroken at having to admit this, he’s left with no choice but to lie to Ellen in order to spare her further grief and get OCP lawyer Holzang (Jeff McCarthy) off his back yet, despite his continuing struggles with his humanity, RoboCop continues to maintain order on the streets practically single-handedly. With the majority of the city’s cops on strike, RoboCop, Lewis, and a handful of uniformed officers find themselves continuously outnumbered and outgunned out on the violent city streets. Much of the violence is attributed to the spread of a highly addictive drug known as Nuke, which is manufactured and spread by the messianic Cain and his devoted followers (whom he refers to as his “flock”). Rather than simply being a gang of thugs and street punks, Cain’s inner circle is more like a cult; they hang on Cain’s every word, revere him as a leader and a father-figure, and are absolutely hooked on the “paradise” offered by Nuke. Cain is an enigmatic and alluring figure with a twisted sense of patriotism who exudes a subtle menace and showcases a sadistic streak when he’s wronged by others. Although he’s generally far more hands-off compared to Clarence Boddicker (Kurtwood Smith), he clearly takes a perverse pleasure in overseeing the torture, dismemberment, and punishment of his enemies and even forces Hob to observe this without filter. However, Cain gets a leg up on his predecessor when he’s subjected to the RoboCop 2 program after being critically injured by RoboCop. Although he doesn’t consent to this procedure, conniving psychologist Julia Faxx is completely on the money with her evaluation that Cain’s twisted mind makes him a perfect candidate to mentally survive the trauma of literally having his brain ripped from his body and placed into a massive mechanical, tank-like cybernetic body commonly dubbed “RoboCain”.

Indeed, RoboCop 2 has a stringent anti-drug message as the super addictive Nuke is so sought after that Cain and his lead scientist, Frank (Frank Miller), produce it in vast quantities. Interestingly, though, very little time is spent explaining what Nuke’s effects (or side-effects) are; Cain suffers some unsettling effects as a result of a mix-up in the ingredients of the “Blue Velvet” variant, and users are said suffer painful withdrawal symptoms but it doesn’t seem to cause hallucinations or manic episodes. Instead, Nuke seems to induce a state of euphoria that becomes incredibly addictive to the user and people are literally fighting each other in the streets to fund their habit. Not that I’m saying it isn’t dangerous, of course, but we’re never actually shown that it is inherently dangerous, and more time is spent establishing that there’s a far more tangible danger in Detroit thanks to the police strike. Despite their loyalty to their enthralling leader, Cain’s followers are quick to write him off after he’s put in the hospital thanks to the ambitions of Hob (Damon), a spiteful delinquent who is very much Cain’s second-in-command and quickly usurps Cain’s position as Detroit’s top drug lord. He blackmails and manipulates Cain’s devoted lover, Angie (Galyn Görg), into falling in line by threatening to cut off her Nuke supply and seeks to broker a deal with the desperate and bankrupt mayor, Marvin Kuzak (Willard E. Pugh), that will allow him and his gang to manufacture and distribute Nuke without fear of prosecution in return for paying off the city’s debts to OCP. Thanks to being a child, RoboCop is unable to act against Hob, allowing the vicious little brat to continually evade reprisals and he gleefully oversees RoboCop’s dismemberment after the gang subdue the cyborg cop at their hideout. However, Hob’s ambition leads to him being caught in the crossfire when Faxx sends RoboCain to assassinate Mayor Kuzak and Hob, Angie, and many of their cohorts are killed by their former leader. Despite all of the pain and trauma Hob caused RoboCop, Murphy comforts the boy in his final moments and is deeply affected by the misguided youth’s death as Hob is around the same age as his own son.

OCP remains a malicious and vindictive corporate entity but, this time around, the Old Man (O’Herlihy) has fully embraced his role as the head of a malevolent organisation; he’s more than happy to inform Mayor Kuzak that the city has defaulted on their contract and is eager to seize control of all of Detroit so that he can finally build Delta City on its ruins. To facilitate this, OCP continue to make life difficult for the city’s police; after numerous threats, the majority of the cops are on strike after having their pensions and salaries cut by their employers, causing chaos in the streets and leaving Detroit ripe for the picking. The Old Man is joined by Donald Johnson (Felton Perry) and Holzang, who advise and support his ambitious corporate takeover of the city, but has many of his decisions influenced by Faxx, who gets close to the Old Man (much to Johnson’s chagrin) and convinces him to screw around with RoboCop’s directives and programming to neuter his threat. When OCP’s efforts to replace RoboCop with a newer, more efficient model are met with constant failure, Faxx jumps in and suggests screening criminals rather than police officers as candidates for the RoboCop 2 program. While the Old Man is happy to keep RoboCop off the streets or otherwise disabled in order to push the city further into OCP’s hands, Faxx seems to get off on manipulating others and weaselling her way into a position of trust and power. While she’s largely successful and appears to have wooed the Old Man with her allure and impressed him with RoboCain’s slaughter of many of OCP’s opposition, her luck runs out by the end as Holzang and Johnson convince the Old Man to make Faxx a scapegoat for the death, destruction, and bad press caused by RoboCain’s rampage. However, little of RoboCop’s focus in the film is on confronting or opposing OCP; Holzang is continually dismissive of RoboCop’s humanity and he is solely concerned with the cost of repairing him and sorting out possible lawsuits caused by his actions, and Faxx is instrumental in screwing RoboCop up with over 250 contradictory directives, but RoboCop’s focus is squarely on Cain and the Nuke problem rather on exposing his creators as an unscrupulous corporate powerhouse concerned only with their own agenda rather than actually helping others.

The Nitty-Gritty:
RoboCop 2 does a decent job of replicating the dark satire of the original through its frequent cutaways to commercials and news program Media Break, which still casually comments on miserable local and worldwide news like it’s no big deal. Although Bixby Snyder (S.D. Nemeth) is sadly missing, the film opens with a particularly lethal solution to car theft, sells OCP Communications as the “only choice” to avoid office workers committing suicide over missed deadlines, and there’s an amusing commercial for “Sunblock 5000”, a product that protects against the destroyed ozone layer but causes skin cancer with frequent use! Although Basil Poledouris’ iconic RoboCop theme is absent, Leonard Rosenman’s new score isn’t anything to sniff at, punctuating RoboCop’s slick shooting and the film’s action sequences with a rousing, almost militaristic fanfare. One thing I do like about RoboCop 2 is how comfortable everyone is with RoboCop; he gets some odd looks of fear and awe from criminals, children, and everyday citizens, but he’s mostly just become a part of the city since the first film. All of his fellow officers refer to him as Murphy and he rallies them in an all-out assault on Cain’s main facility regardless of their money woes purely through the authority and respect his very being commands amongst them.

In many ways, RoboCop 2 retreads much of the same ground as the first film; RoboCop struggles with his memories of a life that, arguably, was never his to begin with and has taken to stalking Murphy’s wife and son since he can’t quite let go of the ghosts of his past. When out on duty, RoboCop is all business and his personal issues never impede his duties; he busts up a Nuke production factory, beats information out of crooked cop Duffy (Stephen Lee), and confronts Cain and his followers alone all because that’s what he’s duty-bound to do (and, arguably, because of his three prime directives). However, when at rest, he’s a broken, distracted, confused man-machine who desperately wants to rediscover the love and affection Murphy felt but can’t because he’s simply the leftover echo of Murphy’s life trapped in a largely cybernetic shell. After he’s brutalised by Cain’s men, RoboCop is once again left torn to shreds and barely clinging to life in a startling call-back to Murphy’s vile execution in the first film; this is the perfect opportunity for Faxx to step in and load a whole bunch of nonsense directives into RoboCop’s program based on “consumer feedback” that the cyborg cop is too violent. Interestingly, Johnson actively speaks out against this, and Faxx’s decision to search for potential RoboCop 2 candidates, but more because of the “corporate image problem” than any sense of duty towards Detroit’s safety. Although Murphy initially resists Faxx’s programming thanks to clinging to his former life, she’s able to bypass his opposition by spoon-feeding him instructions, resulting in a far more chirpy, affable version of the cyborg cop who’s more interested in pleasantries and the Miranda Rights than busting heads. This leads to a ludicrous detour from the main plot as RoboCop, now more inclined to speak out against smoking, bad language (which “makes for bad feelings”), and youth violence and delivering impassioned speeches rather than gunning down criminals with his Auto 9. This doesn’t last very long, however, as RoboCop uses the last vestiges of his free will to subject himself to a near-lethal dose of electricity to, once again, erase all of his directives and clear his head of Faxx’s interference.

Although RoboCop 2 doesn’t feature such brutal scenes as a man being shot to death by a group of thugs, it’s still gloriously violent and gory in its own right, just in a slightly different way; as such, blood squibs burst with entertaining frequency, it’s fun seeing RoboCop manhandle Duffy in the arcade, and it’s always a thrill to see Peter Weller moving like a slick, efficient machine during RoboCop’s firefights. One of the more alarming scenes in the film comes when RoboCop is subjected to a horrific dismantling by Cain’s cultists, who blast off his hand and then drill through his joints to leave him a mangled mess. As traumatic as this is for Murphy, though, it’s nothing compared to the poor souls selected to undergo the RoboCop 2 program prior to Cain, who are all driven to suicidal insanity by their experience, with one cop left little more than a screaming skull beneath a cybernetic helmet! One scene that always landed with me as a kid was the shot of Cain’s brain and eyeballs suspended in a jar of liquid prior to his transformation, and the casual way his doctor and Faxx handle the drug lord’s facial remains, making for a disturbing scene. Effects-wise, things have been vastly improved this time around; RoboCop’s suit looks better than ever thanks to a shining coat of chrome-blue paint, and seeing him rendered a twitching, quivering mess of wires and armour is particularly harrowing thanks to a highly detailed animatronic puppet. RoboCain is a vast improvement over his spiritual predecessor, the Enforcement Droid-209/ED-209 (which, sadly, is reduced to a mere blink-and-you’ll-miss-it cameo), being bigger, more versatile, and far more dangerous and capable. A huge, lumbering machine, RoboCain is brought to life through a combination of miniatures, stop-motion, and practical animatronics and, while some of the shot composition hasn’t aged too well, it’s pretty bloody glorious to see this hulking cyborg gun people down with its machine gun arm and crush skulls with its claw-like hands!

With OCP having all but eliminated their opposition and set to seize control over Detroit, manufacture more cyborg cops, and begin construction of Delta City, the climax naturally features a final confrontation between RoboCop and his would-be replacement. Unlike RoboCop, RoboCain doesn’t appear to retain very much of his humanity; after his transformation, Tom Noonan completely disappears from the film and is represented only by a 3D representation and his hulking robotic body, meaning RoboCain is a much more monstrous figure than Murphy and is motivated solely by his need to consume Nuke. Since RoboCain is bigger and far tougher than RoboCop, Murphy opts to bring a Cobra Assault Cannon with him to even the odds and take out some of Cain’s high-powered arsenal. Unlike the shambling ED-209, RoboCain features a massive machine gun arm (which doubles as an extendable battering ram), his own shoulder-mounted assault cannon, a laser cutter, and a number of claw-like appendages that allow him to scale walls, right himself when dropped, and afford him numerous options in combat. In comparison, RoboCop is as clunky as ever and is forced to rely more on his wiles than directly attacking RoboCain, since the former drug lord’s armour is much too tough to be damaged by RoboCop’s standard firearm or base strength. Thus, their battle sees them crashing through the floor, setting off gas lines, collapsing from a rooftop, and involves Lewis charging into RoboCain with an Armoured Personnel Carrier (APC), all of which barely fazes the enormous cyborg. However, RoboCain has one glaring weakness that RoboCop doesn’t share: his dependence on Nuke. RoboCop is able to use this addiction to distract his foe and rip through the plate armour on his back to wrench out Cain’s brain and smash it into mush, ending the would-be messiah’s threat once and for all and reclaiming his position as the city’s resident cyborg.

The Summary:
Even now, I genuinely feel lie RoboCop 2 is underserving of the dismissal it is often met with. While RoboCop might’ve been lightning in a bottle in many ways, I honestly think RoboCop 2 is a more than worthy follow-up as it does a decent job of replicating the mixture of satire, action, and metaphysical commentary of the original. While it’s admittedly disappointing that RoboCop’s character is walked back a bit and essentially undergoes exactly the same character arc (beginning as a stoic law enforcer, regaining his sense of self, and ridding himself of his directives) rather than starting off in the same place we left him, I found the further exploration of RoboCop’s humanity to be fascinating and heart-breaking. Here we have a cyborg police officer with the memories and feelings of a dead man, whom everyone treats as Murphy reborn, but the fundamental question of whether RoboCop actually is Murphy or if Murphy is just a ghost in the machine is endlessly intriguing to me and RoboCop 2 explores that in interesting ways. I also enjoyed RoboCop’s increased screen time, which made the film a bit more action-packed than the original, and the traumatic call-back to Murphy’s violent death in RoboCop’s dismantling, but what really impresses me about the film is the slugfest between RoboCop and his would-be successor. An under-rated triumph in practical effects filmmaking, an impressive mixture of animatronics, stop-motion, and traditional filmmaking techniques makes this sequence a thrilling and exciting climax and I am continually impressed with the RoboCain effects, which really up the ante as far as cyborg-on-cyborg action goes. For those who have slept on RoboCop 2, I definitely recommend looking at it again, as the Old Man would say, with “a fresh perspective” as it’s a more than worthy successor to the first film and, at the very least, isn’t handicapped by trying to appeal to a younger demographic like the third film.

My Rating:

Great Stuff

Are you a fan of RoboCop 2? Would you agree that it’s under-rated or did it retread too much of the same ground for you? What did you think to RoboCop’s character arc, his struggles with his humanity, and the influx of crazy commands he receives? Did you enjoy seeing him tangle with a more competent cyborg opponent and what did you think to the effects this time around? Which RoboCop movie is your favourite? How are you celebrating RoboCop Day today? Whatever you think about RoboCop 2, feel free to drop your thoughts below or leave a comment on my social media.

To celebrate the release of the dismal RoboCop (Padilha, 2014) on home media, June 3^rd was declared “RoboCop Day” in the city of Detroit. While that movie wasn’t too impressive and had nothing on the original, this does give us the perfect excuse to talk, and celebrate, all things RoboCop on a specific day each year.

Released: 17 July 1987
Director: Paul Verhoeven
Distributor: Orion Pictures
Budget: $13.7 million
Stars: Peter Weller, Kurtwood Smith, Ronny Cox, Nancy Allen, Miguel Ferrer, and Daniel O’Herlihy

The Plot:
In the not too distant future, crime and corruption are rampant in Detroit, where Omni Consumer Products (OCP) are actively trying to cause civil unrest in order to schedule construction of Delta City. Violence rules the streets thanks to the efforts of notorious criminal Clarence Boddicker (Smith). However, when police officer Alex Murphy (Weller) is ruthlessly murdered by Boddicker and his gang, OCP turn what’s left of Murphy into the ultimate crime-fighting cyborg, RoboCop.

The Background:
RoboCop was the brainchild of Universal Pictures junior story executive and aspiring screenwriter Edward Neumeier; inspired by science-fiction films, particularly Blade Runner (Scott, 1982), Neumeier eventually gained a partner in the form of aspiring director Michael Miner. Together, they crafted a satirical take on 1980s business culture, commercialisation, corporations, and the media with more than a little influence of Judge Dredd spliced into the mix. The script was eventually purchased by Orion Pictures but eventual director Paul Verhoeven initially passed on the project until he found a way to connect with the satire and the themes of identity and humanity. Orion originally wanted Arnold Schwarzenegger in the title role but Peter Weller was eventually cast thanks to his commitment to the part, lower salary, and good range of body language; Kurtwood Smith and Ronny Cox, by comparison, joined the film to shake off their type casting as “nice guys”. All of the work Weller did with Moni Yakim to develop RoboCop’s unique movements had to be scrapped in favour of slower, more deliberate movements once he put on the RoboCop suit. Designed by Rob Bottin, the expensive suit took six months to build from flexible foam latex, was supported by an internal harness during action-heavy scenes, and was one of the film’s most impressive practical effects alongside Phil Tippet’s monstrous Enforcement Droid-209 (ED-209), which was brought to life through both practical and laborious stop motion effects. Despite some difficulties with the film’s marketing, RoboCop was a modest hit for Orion; it made just over $53 million at the box office and was met with generally positive reviews. While filming was a gruelling experience for the director and main star, RoboCop went on to be an extremely influential movie, spawning a number of sequels, spin-offs, and ancillary media in the form of toys, cartoons, and videogames.

The Review:
RoboCop takes place in a semi-dystopian future that looks remarkably like the late eighties; in Detroit, crime and violence are so out of control that cops, understandably fed up of being killed on the streets, are close to going on strike! The very suggestion of leaving the already chaotic streets undefended angers Metro West Sergeant Reed (Robert DoQui), a hard taskmaster who delivers the iconic line: “We’re not plumbers! We’re police officers! And police officers don’t strike!” Still, Reed is exasperated by scumbag criminals and their equally sleazy lawyers who downplay the significance of crimes such as attempted murder, and the city cops certainly have the odds stacked against them; they’re under-staffed, under-paid, out-gunned, and out-numbered and their lot only gets worse day by day as OCP has made moves to privatise law enforcement in order to justify the construction of Delta City, a modern industrial utopia that is the lifelong dream of their chief executive officer, referred to simply as the Old Man (O’Herlihy).

It is into this tumultuous situation that we are introduced to Murphy, a veteran officer transferring in from Metro South; partnered with the tough-as-nails Officer Anne Lewis (Allen), Murphy is just one of many officers moved over to more violent areas of the city at the direct order of OCP junior executive Bob Morton (Ferrer) specifically because they fit the physical and psychological profile for his RoboCop project. A devoted husband and father, Murphy is a simple family man and a good cop; he’s impressed with Lewis’ physicality and builds a fast rapport with her but their partnership is tragically cut short when they respond to reports of a robbery. OCP is the very definition of an untouchable, greedy, malevolent corporation; the very definition of eighties excess, even, as OCP has incredible influence across the city thanks to their power and military contracts. Comprised of a number of unscrupulous Board members who care only for profit and expanding their own ambitions, OCP have few qualms about sacrificing others in their quest for greater profits. After orchestrating the rising crime in the city, Senior President Richard “Dick” Jones (Cox) proudly unveils his mammoth ED-209 robot as the answer to “urban pacification”. Unlike in the later sequels, where the Old Man is seen as a strictly malicious figure, his motivations seem far more ambivalent here; while Jones is in league with Boddicker and actively murders those who get in his way, the Old Man seems to genuinely want to improve Detroit with the construction of Delta City. However, when ED-209 malfunctions and murders a junior executive, the Old Man’s focus is still, amusingly, more on the financial losses Dick’s “glitch” will cost the company.

This violent incident sets the entire main plot in motion as, with Dick humiliated in front of the Board and the Old Man, Morton takes advantage of the situation to get approval for his RoboCop project, earning Dick’s ire in the process. Luckily for them, but not so much for Murphy, Boddicker and his gang (comprised of Emil Antonowsky (Paul McCrane), Leon Nash (Ray Wise), Joe Cox (Jesse D. Goins), and Steve Minh (Calvin Jung)), are in the middle of a desperate getaway after robbing a bank and Murphy and Lewis dutifully chase after them despite not having any back-up. Essentially a group of psychopaths and sadistic killers, Boddicker and his gang take immense pleasure in shooting it out with the cops and running rampant throughout the city and, while we don’t really learn a great deal about them, they are all very colourful, reprehensible, and larger than life villains thanks to being portrayed by some extremely talented character actors who all seem to be having the time of their lives in the roles. They delight in torturing and taunting Murphy, who is left defenceless and helpless when Lewis is cut off from him and, led by Boddicker, they systematically set about blowing him literally to shreds with their high-powered firearms in one of the most brutal and gut-wrenching scenes I’ve ever seen.

With his hand and arm blasted off, Murphy is bombarded by a series of shotgun blasts and yet remains alive thanks to his body armour, until Boddicker executes him with a point-blank shot to the head. After a harrowing scene of Murphy’s death, he is subjected to a lengthy procedure by Morton’s team and reborn as RoboCop. We only see bits and pieces of this transition, and all from Murphy’s disjointed and fragmented perspective as he comes online in a cybernetic body and is unveiled in all his armoured glory. Sustained by a rudimentary paste and installed in the Metro West facility, RoboCop is a captivating and alluring presence for both criminals and cops alike. Bound by three “Prime Directives” (and a fourth, classified Directive), RoboCop is programmed to serve the public trust, protect the innocent, and uphold the law, something he does with an unmatched efficiency. After acing the shooting range with his rapid fire Auto-9, RoboCop hits the streets and immediately stops an armed robbery (arguably causing more damage to the store than the robber would have), saves the Mayor from a mad gunman, and saves a woman from a couple of rapist punks by shooting one in the dick and this is all within the first thirty minutes of the movie! Having lost his identity and memories during the process, RoboCop initially has no recollection of his former life as a human cop; however, Lewis’ suspicions are almost immediately raised when she sees RoboCop performing Murphy’s signature gun twirl.

While at rest, RoboCop is tormented by fragmented memories of his murder and his memories are triggered by Lewis, who is convinced that he is Murphy reborn, and Emil’s horror at also recognising one of Murphy’s iconic lines (“Dead or alive you’re coming with me!”) This drives RoboCop to investigate the name Lewis addressed him as, “Murphy”, and paying a visit to his now-abandoned family home, and realising his true origins. Determined to avenge himself on Boddicker, RoboCop tracks the crime boss to a cocaine factory and, though fully intending to beat Boddicker to death, arrests him in accordance with his third Directive: “Uphold the law”. Enraged at Morton’s arrogance and disrespect, Dick is even more incensed at RoboCop’s presence, which not only completely undermines his ED-209 proposal but also leads to Boddicker implicating Dick in his (as in Boddicker’s) desperate pleas for mercy. To that end, Dick arranges for Boddicker’s bail, orders him assassinate Morton, and then cripples RoboCop when the cyborg police officer finds himself unable to arrest him due to Director 4 (which prevents him from acting against an OCP employee). After narrowly surviving a shoot-out with ED-209, RoboCop is set upon by the city Special Weapons and Tactics (S.W.A.T.) team, led by Lieutenant Hedgecock (Michael Gregory), and once again shot to shit. Saved by Lewis, RoboCop struggles with disparate memories of his former life and soon finds himself facing off against his killers, now armed with high-grade military weaponry and set on killing him for good.

The Nitty-Gritty:
For me, you can’t talk about RoboCop without mentioning Basil Poledouris’ iconic and memorable score; a combination of synthesisers and traditional orchestra, the main theme manages to be rousing, heroic, and tragic all at once and perfectly encapsulates one of the main themes of the movie (that of machine and man working in harmony). Murphy’s violent death is punctuated only by his agonised screams and the sounds of guns being fired but, when RoboCop is blasted but Hedgecock’s men, the harrowing scene is accompanied by an poignant series of horns that really add to the tragedy and helplessness of the moment. Similarly, when RoboCop awakens from his dream and begins to piece together the fragments of his former life, it is accentuated by Poledouris’ rousing score that works perfectly with Weller’s unparalleled body language to really sell the RoboCop’s inner turmoil. One of the most entertain aspects of RoboCop are its many instances of social satire and commentary on consumerism, both of which are used to great comedic effect because they’re simultaneously ludicrous and played completely straight and treated so nonchalant by characters in the film. For example, the film is interspersed by regular cutaways to Media Break, a regular scheduled news program whose hosts, Casey Wong (Mario Machado) and Jess Perkins (Leeza Gibbons), deliver reports of nuclear discord in other countries, violence on the Detroit streets, and a whole host of grim news with an unabashed enthusiasm that borders on disinterest.

Indeed, this is a fictional world where death and violence are commonplace and treated as simply routine, resulting in an amusingly blasé approach to the bleakness that grips both the city and are a great way to quickly inform the viewer of what’s happening in Detroit. Alongside these are a number of ridiculous commercials for things such as Yamaha-branded artificial hearts, the hilariously ostentatious 6000 SUX, and a bizarrely popular television show whose womanising main character (S. D. Nemeth) just loves proclaiming: “I’d buy that for a dollar!” There are many themes at work in RoboCop alongside this biting satire, the majority of which are masterfully conveyed through the simple use of music, body language, and subtlety. Yes, the idea of a hulking cybernetic cop blasting scumbags with a massive firearm isn’t exactly the definition of the word subtle but the core concepts of identity and humanity are especially poignant. One that you might not have picked up on is a sly Christ allegory; Murphy suffers and dies, is resurrected, and even walks across (well, technically through) water by the conclusion. You can argue that this is a bit of a reach but there’s definitely enough evidence to delve deeply into this reading and the very fact that this is the case shows that RoboCop isn’t just some mindless eighties action movie. The movie asks audiences to consider the question of whether Murphy’s soul lives on in RoboCop or whether he’s simply a machine with fragments of a dead man’s memories and whether having those lingering memories and feelings are enough to say that Murphy lives in in his new mechanical body. By the end of the film, of course, RoboCop has fully evolved away from his cold, efficient programming and has accepted his humanity; he ditches his visor and proudly proclaims his name to be “Murphy” and, though the status quo is largely reset by start of the sequel, that doesn’t undermine the triumph of this character arc here as RoboCop is able to reaffirm his humanity while making his murderers pay for their actions.

Of course, that’s not to undermine the action that is on display here; thanks to Weller’s slick, fluid movements, RoboCop is an efficient and impressive screen character, able to blast his foes through a series of swift movements often without even looking! Not only that, the film is hilariously violent, especially in this Director’s Cut, where scenes such as ED-209’s violent introduction, Murphy’s unsettling execution, and Boddicker’s cathartic death are all expanded upon in gruesome detail. Honestly, if you’re tired of today’s modern CGI effects, you could do a lot worse than to pop in RoboCop for some proper old school, practical effects; blood squibs are everywhere, animatronics, puppetry, and traditional stop motion techniques are used to fantastic effect to bring ED-209 to life and make for an effective and exciting clash between it and RoboCop, and that’s not forgetting the RoboCop suit itself. Excuse me while I gush for a minute but this suit is a thing of absolute beauty and totally sells the idea that this is a machine-man thanks to how layered and intricate it is, to say nothing of the iconic thomp-thomp-thomp footsteps he makes. When RoboCop removes his helmet and gazes upon the remains of his face, it’s an especially touching scene (even though he randomly loses his chin guard in the process) thanks, largely, to a combination of Weller’s powerfully understated performance and the fantastically realised special effects. Finally, there’s the “melting man” effect used to show Emil’s well-deserved death; bathed in toxic waste, his skin melts and leaves him a gaunt, agonised figure that injects a real horror into this bombastic sci-fi action piece.

The Summary:
RoboCop is another of the quintessential, formative movies of my childhood; I grew up watching this, and other similar sci-fi and action movies of the eighties, and it’s had a profound influence on my likes, personality, and academic decisions over time. A brisk, action-packed sci-fi classic with a number of poignant themes regarding humanity and the nature of the soul, RoboCop is so much more than just a mindless action film. Having lost his humanity and his memories during the process of being resurrected, RoboCop sets aside his stringent programming in order to piece together his former life. Lewis is fully accepting of him once she realises his true identity, standing by him as he faces off with Boddicker and his gang and the underpinning message of the film seems to be that humanity is not defined by ones physical trappings. At the same time, RoboCop is an endlessly entertaining commentary on the consumerism and excess of the eighties and is full of amusing social satire that is perfectly realised to avoid coming across as slapstick or a parody. Similarly, the film is chock full of blood, violence, and hard-hitting action and some of the most impressive and ambitious practical and special effects ever put to film. Honestly, I could talk about this film all day and never get bored, but suffice it to say that RoboCop is an absolute classic of its genre and it still holds up to this day.

My Rating:

Fantastic

Are you a fan of RoboCop? Did you see the film when it first released or did you discover it on home video? Were you a fan of the film’s themes, social satire, and unapologetic violence? What did you think to the effects, particularly the RoboCop suit and ED-209? Which RoboCop movie is your favourite? How are you celebrating RoboCop Day today? Whatever you think about RoboCop, feel free to leave your thoughts in the comments below.