RoboCop

I really don't understand all the hate this movie gets. Yeah, I get it, it's a reboot of a perfectly good 80s movie that nobody really wanted, but it's a really good one! I expected a mindless Micheal Bayian action movie and what I got was a really smart, interesting and entertaining look at trans-humanism, the freedom of choice, politics and recklessness in corporate leaders.

This movie really dives into the question of how a person could live his day to day live with almost all of his body amputated and stuck inside of a machine. So when people complain about the uncomfortable scenes between Murphy and his wife, I can only imagine they mean what happened after his transformation, and that felt exactly the way it was supposed to!

So yes, the original is way more graphic and still holds up to this day as a gruesome action flick, but this one is smart and interesting and really is a good movie in it's own right.

And by no means is it as bad as people say it is!

In 2010, acclaimed director Darren Aronofsky (THE WRESTLER, BLACK SWAN) was originally attached to direct the ROBOCOP reboot. Frankly, I thought he was the right choice to reboot the once-popular franchise back in the late '80s. Unfortunately, he quits the project and Brazilian director Jose Padilha (ELITE SQUAD, ELITE SQUAD: THE ENEMY WITHIN) was brought in as his replacement. WHAT IS IT ALL ABOUT? When police detective Alex Murphy (Joel Kinnaman) is critically injured during a car explosion in front of his home, CEO of OmniCorp Raymond Sellars (Michael Keaton) sees him as a golden opportunity to make him feel alive again by turning him into "Robocop" -- a cyborg police officer which is touted as the future of law enforcement in America. However, OmniCorp doesn't realize that Murphy still has a personal vengeance in his mind to pursue the criminals who nearly caused him dead. THE GOOD STUFF Like the first two ELITE SQUAD movies, director Jose Padilha delivers the same raw intensity that gives ROBOCOP a quasi-documentary feel to the action sequences. Even though Padilha utilizes shaky camera-work, at least he doesn't make the scene so wobbly until the viewers unable to see what's really going on. The special effects are spectacular, while the costume design for the all-new Robocop in a black tactical body actually looks quite nifty. Swedish-American actor Joel Kinnaman (best known in the US for TV's The Killing) delivers an emotionally engaging performance as Alex Murphy and Robocop, while Michael Keaton steals most of the spotlight as the slimy CEO of OmniCorp Raymond Sellars and Gary Oldman gives a perfectly restrained performance as the sympathetic Dr. Dennett Norton. Other minor roles -- including Abbie Cornish as Murphy's wife, Clara; Jackie Earle Haley as the military tactician Mattox; and Samuel L. Jackson as the media host Pat Novak -- are all equally impressive. MOST MEMORABLE MOMENT(S) The brief but intense battle between Robocop and a small army of ED-209 during the climactic finale. THE BAD STUFF The biggest weakness in this ROBOCOP reboot is Joshua Zetumer's captivating but bloated screenplay. First of all, the story drags too much with Murphy's personal family matter with his estranged wife Clara (Abbie Cornish) and son David (John Paul Ruttan). Then there's the underwritten plot involving Murphy's personal vengeance against Antoine Vallon (Patrick Garrow), who is responsible for the car explosion. Even the so-called social commentary involving the "robo-phobic" issue quoted by Samuel L. Jackson's Pat Novak doesn't really say much that worth a debate. FINAL WORDS While the new ROBOCOP is far from a genre classic by any means, at least Jose Padilha's version isn't as bad as most people might have expected. Just put your mindset of the Paul Verhoeven's original 1987 version aside, and treat this as an entirely new movie altogether.

By 7, it really means a 7.5/10. Not sure what's with the negative reviews, but I enjoyed the movie very much. It's well-executed and the direction was clear and crisp. There's no distinct feel-good actions scenes because the pacing is kept constant throughout and I don't see why there's an issue with the pacing being that way. It's hardly flat, it's just a very honest, straight- flushed story-telling, and it fits the themes that are underscored by the movie. Alex Murphy is a reluctant hero and he's ultimately a father and a husband whose personal agenda serves as his existential core. I like how these themes are teased out and zoomed in upon throughout the movie. Also, there are some absolutely delicious production details and CGIs that are just absolutely feasts to the eye. Not to mention the superb cast and the wonderful performances. I think this is a honest and loyal reboot that will appeal to fans of Robocop who fell in love with the story precisely for the moralistic themes it explores.

Which is not to say it was necessary.

Indeed, of all movies made in the 80s, Robocop would have been considered as a very unlikely candidate to be remade at all. The original was a fantastic, gorefest, schlock-filled action hit and that toxic melt sequence lives long in the memory. To reboot it was nothing more than a money-making exercise, but if we overlook the morality of the affair, is the movie any good? Well, it isn't bad, put it that way. Like the original it's set in a dystopian future, and like the original it features Alex Murphy's remains brought back to life in a robot, but it changes a great deal about the story, not least Lewis' gender (Battlefield 4 players will recognise Irish's voice returning as Murphy's partner).

The plot focuses on the Dreyfuss bill which bans the use of robots for law enforcement in the US, because it's felt the absence of emotion makes them unsuitable, despite the success of their deployment everywhere else in the world. Samuel L Jackson's wildly OTT Novak obsesses over that on his night-time soapbox show the Novak Element, and fully supports Omnicorps' Sellers (Keaton) bid to get their product on the streets of the US, Detroit especially.

Murphy's Robocop (built by Oldman's Dr Norton) is a way around that, and thereafter it's a case of 'where it all went wrong'. That very cliché is used constantly but this isn't necessarily a bad thing.

Fans of the original movie should enjoy this, even if it feels slightly pointless. The visual effects are pretty extraordinary in truth, and the action sequences thoroughly enjoyable.

The first review on the page does make a good point - there is no one obvious outright bad guy - unlike the original's brilliant Kurtwood Smith, Murphy isn't up against a particular enemy. However the side issue here is that this kind of misses the point - the change in this movie is that a combination of Omnicorp, his killer, and one or two other characters leads Murphy to a pursuit of avengement. There doesn't need to be a big bad guy - just like video games don't always need a boss fight, movies don't always need a nemesis.

For me the way it's structured doesn't detract.

Fundamentally it's a different movie to the original, a homage which is frankly well made but goes in its own direction.

Whether you like that or not is up to you, but I have personally seen far worse movies.

Up front I'll confess. I'm one of those curmudgeony dinosaurs who takes it as a personal affront to my long gone adolescence whenever anyone dares to remake an 80s flick. I mean, heck, movies aside, NOTHING can compare to how stylin' I was in my parachute pants & moussed up hair as I strutted in that movie theater with my gallon of Fresca, pop rocks & Fruit Stripe gum back in '87 to watch the cinematic event of the decade, Robocop. That alone, plus the fact that they don't make gum with real sugar anymore (communists!), makes me want to thumbs-down every remake of today.

But you know what? This movie sorta rocks. I'll tell you why.

First of all, the story is COMPLETELY different, so it can't even be considered a remake. I'm a firm believer that, much like Jimi Hendrix did when he covered "Hey Joe", if you're going to revisit someone else's work then do it completely differently. That's what the director did here. Only the basic premise remains: a lone, half-computerized "Everyman" decides to take on a criminal/corporate colossus while simultaneously struggling with his lost humanity.

First off, Robocop 2014 is a much broader, more family-friendly film. Gone is the extreme, in-your-face violence and criminal depravity that worked so well in the original which was intended to disturb viewers on an emotional level (Veerhoven is king of cinematic satire). Whereas the old Robocop was known to pump lead into perpetrators' private parts, in this version Robocop uses a taser gun to take down most threats. Granted, it's a taser gun that packs enough juice to take down the jolly green giant, but the point is we don't see quite as much blood & guts.

Instead of disturbing violence and hard-hitting satire, we get some very interesting political and philosophical spins. The idea of a robot police force is cleverly tied in with military drones and smart-warfare technology that's already in use today. The question being posed is: when we turn this same technology on ourselves (America) to police our own people, suddenly it seems bone-chillingly sick.

Another new & interesting spin is the idea that Robocop is the personification of the existentialist debate. Do we have free will? Or is there some governing force that has written out our lives and "choices" already, and we are merely as Shakespeare said, a bunch of actors playing out roles? Robocop 2014 touches on this with the idea that Robo is actually hard-coded to behave as a machine with only the illusion that he has conscious will. THAT was a great philosophical angle which I actually wish the movie had spent another hour exploring. But I guess that would've taxed a lot of viewers' attention spans, so it was kept under the surface. Still it's something to ponder heavily as the movie unfolds.

Special effects, action, costumes & gizmos are eye poppingly great. And I don't mean over-the-top cartoonish, either. They're great because the film does a nice job of keeping things real enough to make you think this scenario could actually happen. In the "Behind the scenes" bonus, a point is brought up that the director nixed a bunch of really cool scifi ideas (such as a motorcycle that transforms into a shell around Robo) because he didn't want the viewer to get lost in too much fantasy. The result is more of a straightforward crime drama or even political thriller than it is scifi.

The acting. OK, for real, how can anyone fail with Michael Keaton (the first movie Batman) and Gary Oldman (Dracula) and, in a peripheral but awesomely hilarious parody role Samuel L Jackson (Pulp Fiction!) as the rabid fascist foul-mouthed host of a cable "news" show called The Novak Element. Oh gawd, fans of Veerhoven's satirical skewerings will LOVE this character. Relative newcomer Joel Kinnaman (Robo) does a great job, and old Robocop fans might notice some deliberate homages he makes to the original Peter Weller performance such as the way he always turns with his head first, then shoulders, then feet.

I also must add a quick note about the music used in this film. There are several great homages to us aging fans with selections such as The Clash "I Fought the Law" and a great shoot-em-up scene that uses "Hocus Pocus" by Focus. And I think that approach sums up what this film is all about. It's not attempting to trample on our memories of the original Robocop, but rather, it acknowledges old fans while presenting something completely different and, in my opinion, worthwhile. Now if someone would only acknowledge my cool parachute pants I be flying high.