RoboCop: Prime Directives

Three movies, a live action TV series and two cartoons later, ROBOCOP returns with a made-for-TV miniseries "ROBOCOP: PRIME DIRECTIVES". This miniseries consisted of four movies which attempted to bring back the gritty and darker tone of the first movie, as well as some social satire. For all intents and purposes, what we have is an ambitious project limited by lack of budget and inexperience of the creative team.

Our story begins 10 years after the first movie (ignoring the continuity of the other movies and TV series). Robocop is obsolete and weary of his years trying to bring peace to the crime ridden Delta City. The megacorporation OCP, who runs the city, is experiencing inner turmoil among the management. Due to new policies preventing use of lethal force by the police, a crime wave is sweeping the city. From Kamikaze gangs to a psycho in Halloween armour armed with machine guns and rockets, this town is going to hell. Fortunately, they have a new kick ass police commander JohnCable; a dual pistol wielding ol fashioned cowboy cop. Oh, and Robocop, the supposedly invincible enforcer of law who spends the entire miniseries getting owned.

Every character goes on about how awesome Robocop is, every criminal mentions his name in fear, you never see that. What you get is Robocop being blasted, kicked down, smashed, electrocuted and pummeled in every other combat scene. He only manages to take down people who refuse to take cover in a firefight.

This brings me the portrayal of Robocop himself played by Page Fletcher. Fletcher is a fine actor, able to convey heavy emotions with his voice and mannerism. He is not, however, I anyway suited to the role. For starters, he is short. As in really short. And the bulky oversized armour only makes him look shorter. Everyone including the old female scientist is taller than him. His Robocop is a stumbling dwarf, always marching with his fists balled up. On the flip side, with his helmet off, Robocop looks like an old man and even acts like one. Nothing is done to make him machine-like. He very visibly pants when tired, swallows hard when scared, he even sweats.

So a crappy Robocop headlines 4 made-for-TV movie length episodes of the miniseries. On the bright side, what the 4 episodes do is attempt to remake and redo some very classic elements from Robocop media history. You have a new more advanced Robocop, something Robocop 2 should have been about. You have a advanced Artificial Intelligence meant to automate the entire city, like th pilot episode of the 90s TV series. Lastly, you have a tale of a machine regaining his humanity. Throughout this story is the tale of James Murphy, son of Alex Murphy, who is now a young executive caught up in the turmoil in OCP. James must come to terms with the discovery of his father's identity as Robocop as father slowly reunites with son.

The overall story is good for its drama. The actors are spot on in their portrayals and it is generally well written with many of the themes inherent in the original films. Of particular note is the hammy Kaydick and the absolutely obnoxious Damien. A huge plus is the miniseries return to R-Rated violence rather than the kid friendly style of fighting in the TV series and Robocop 3.

Sadly the execution is less than sub-par. Director Julian Grant brings a lazy hand to the directing and seems to have this obsession with skip-frame slo mo (the kind of jerky slo mo you get when shooting something at half the usual Frames Per Second). The overall low budget look to the production is heightened by dated special effects, unremarkable camera-work and crappy costumes. The New cyber terrorist villains have the fashion sense of the Matrix characters, all tight, black and trench coats. They have cartoony electrical powers and can move at super speed with a basic blur effect. The low budget is most obvious in the Robopcop suits. During action scenes, they come apart at the seams letting you clearly see the black leotard underneath.

With this, Prime Directives sounded the death knell of the classic Robocop franchise. Perhaps in this new century of movies with fast kicking kung fu combat, high tech special effects and tighter narratives, the concept of classic Robocop as a walking tank is in itself obsolete. With this sad closure to a once remarkably original franchise, perhaps the new reboot in 2014 would be a much welcome revival of the concept.

Hmmm, this series doesn't seem to be very popular but on closer inspection the criticism seems to be from the "watched the first 10 minutes then turned off" crew.

I'm unsure how you can fully judge something without watching it but that's the level of mentality here.

Anyway, I think Prime Directives is a great slice of binge entertainment. Nearly 6 hours of action and story set in the Robocop universe and the stories are very interesting too. The usual Robocop themes of family and greed are here but they throw in some plot points about obsoletion as well which I found very cool.

This is a TV production so don't expect any great special effects here but the cinematography is top notch and very moody and it's all absorbing enough to hook you in.

Now it has some bad points and most of that comes from the acting. It's pretty bad right across the board with maybe only one or two standouts but yep, it's really corny. Page Fletcher looks like a poor man's Dennis Hopper and far too short to be Robocop in the first place. He's "ok" as Alex Murphy but honestly he bungles about in the Robo suit looking constipated and his shoulders are so hunched up it loos like he could explode. The rest of the cast fare better but honestly, not by much.

It's surprising because the script, while not the snappiest is really quite good and fuses well with the extended stories and even throws in a some memorable lines here and there.

The best thing about it is that this is the extended runtime. Here we have FOUR feature length episodes all connected to the same skeleton story and it's great fun immersing yourself in the Robocop universe for that amount of time. The 6 hour running time means that the story and plots can really breathe and be fleshed out quite a bit so this adds tremendously to the connection between audience and program.

I honestly think that some people watch this and expect the same quality as the films and that just isn't going to happen.

Regardless aside from some bad acting and Robo himself being somewhat miscast this is a great pieces of quality entertainment that lasts a good while and there is PLENTY to enjoy here believe me so give it all of it) a shot and if you keep in mind it's production you shouldn't be disappointed.

Terrific for tearing into on a binge after the first three films.

This has got stuff going for it. It ignores the two sequels, and uses the Verhoeven movie as the basis(it, in fact, appears to be in love with it, and uses it wherever possible, most noticeably in the spoken lines), that proves they had the right idea. The satire is also quite present(albeit it tries too hard, worst in the last credits, where it could not possibly be more obvious that they're talking directly to the audience, not to mention how it often underestimates their smarts, and spells it out, same as in the second flick). Moreover, there are plenty of gunfights, as well as some martial arts and car-chases(not all of these are fantastic, if they tend to stay above the level of passable). Each episode seems to start with a bang(there are those that would call them grabs for attention). On paper, this sounds an awful lot better than it is, which is not at all to say that it is all poor. It has several scattered things wrong with it, that unfortunately add together and make the whole less than excellent. For example, the plot is good, and remains so through the mini, but there are perhaps a subplot or a couple over the amount there should be, and not everything pays off(a shame, considering the concepts they at least begin to cover). The pacing can be uneven. While there among the characters are truly interesting ones, others are caricatures, and they get considerable screen time. I will say that this keeps getting even better and bigger, without losing anything, throughout, I didn't think they'd be able to top themselves, however, they went and did just that. The very ending, though parts formulaic and tough to swallow, had something great and well-thought out, in my opinion. The performances are so-so(I personally got a kick out of getting to see Geraint Wyn Davies again), and this is not devoid of screamy acting. This does hold a number of *really* awesome moments. There is unintentionally silly material herein. This is exciting sometimes, and certainly had me thrilled, although not constantly. Why do people continue to use small arms fire against RoboCop, and when will they realize it is utterly and completely ineffective? They cover up the limitations and constraints reasonably. There are repetitive actions(get used to seeing a certain individual storm out with determination). The effects are well-done, meanwhile, no one is going to be fooled and not be able to figure out what's CGI and what isn't. The music is... well, let me put it this way, either they saw the title role as a bit of a cowboy, or the composer is big on Ennio Morricone(hey, who could blame them?). Obviously I hope it's the former, but it didn't always seem staged or filmed to fit that. There are marvelous developments and situations found in this. The writing is a mixed bag, both dialog and story. There is violence, and it could be called excessive, in tone and volume. This I would say is genuinely disturbing a handful times, whether or not that is positive is up to the viewer. I recommend this series to any fan of the first of the cinema-releases, and/or of the iron-clad law-man... be aware that there are areas of this that are going to underwhelm; if you can stand those, you're in for multiple cool, fun sequences and not half bad science fiction. 5/10

It's clear that Julian Grant, Brad Abraham and Joseph O'Brien are fans of Robocop. They have updated the series for the new millenium and spin on a few ideas of their own.

John Cable was an excellent addition to Robocop. Him and Alex Murphy are great to see in action. Cable is similar to Murphy in many ways: family man, law man, takes no nonsense. Full credit to Maurice Dean Wint. His wife, Sara Cable, reminds me of Clarance Boddiker in a few ways as well.

However, some things just don't work: Page Fletcher is physically wrong for Murphy. He's 5 ft 7. Hardly intimidating. Even his son towers over him and his nose is massive, although he does a good job of handling the emotions. The idea to have Robocop constantly shutting down and jumping when shot like an epileptic gets tiring after a while.

Ultimately, a worthy effort.

On the first two RoboCop feature films, the producers hired renowned mime artist and choreographer Moni Yakim to help Peter Weller, who played the title role in those pictures, get a handle on the role's intense physicality, and the investment paid off handsomely. On "Prime Directives," however, apparently such expenditures were deemed superfluous and eliminated from the budget. Yet, considering that RoboCop is the miniseries' main character, the character needing to be lavished with the most attention--especially with regard to issues of movement and ambulation, so as to ensure precise execution and verisimilitude--such an oversight on director Julian Grant's part is simply beyond the pale. The sad result: Page Fletcher, who plays RoboCop in "PD," spends most of his time stumbling and bumbling about in the RoboSuit, fists eternally and inexplicably clenched, wildly swinging his arms to and fro in a bizarre echo of Rock'em Sock'em Robots, and walking as if there were a warm, freshly laid dump permanently ensconced in his RoboDrawers.

To add insult to injury, RoboCop's makeup FX in "PD" really leave something to be desired. They are so bad, in fact, that the RoboHelmet-less Fletcher looks like Mandy Patinkin from "Alien Nation," replete with what appears to be a shopworn Tupperware bowl spray-painted a drab gray and hastily slapped onto the back of Fletcher's ridiculously enlarged noggin. What's worse, as the miniseries goes on, Fletcher's RoboSuit seems to fit him less and less snugly. At one point, when RoboCop visits his own gravesite, the suit's chin-guard seems to be floating independently from the rest of the RoboHelmet, careening away from Fletcher's jaw by several maddening inches.

Furthermore, those who are familiar with Julian Grant's decidedly unimpressive B-movie oeuvre (most especially the utterly dreadful direct-to-video "Airborne") know all too well his pronounced limitations as an action filmmaker. Grant fancies himself an ace action director, in the mold of George ("Mad Max") Miller and James ("The Terminator") Cameron. However, unlike those esteemed cinematic kineticists, Grant has absolutely no sense of timing or geography when it comes to arranging action set pieces. To be perfectly candid, his "style," as it were, is actually more in line with that of an unadorned hack like Roger ("Battlefield Earth") Christian. Grant's action scenes go on and on and on, in a way that oscillates between being boringly redundant and spatially confusing. Grant will repeat the same information time and again, such as having a procession of nameless, faceless bad guys meet repetitive, cookie-cutter deaths at the hands (or rather guns) of the good guys, and all the while within settings where it's difficult to tell where the bad guys are positioned at and/or coming from with respect to the good guys.

The verdict: 2 out of 4 stars.