With three feature films, a television series, two animated TV series, TV mini-series, comics, and video games, the “RoboCop” franchise returns with a new reboot. Our J.P. gives his thoughts.
“ROBOCOP”
Columbia Pictures
MPAA Rating: PG-13 for ” intense sequences of action including frenetic gun violence throughout, brief strong language, sensuality and some drug material”
Directed by José Padilha
Produced by Marc Abraham & Eric Newman
Screenplay by Joshua Zetumer
Based on Characters by Edward Neumeier & Michael Miner
Starring Joel Kinnaman, Gary Oldman, Michael Keaton, Samuel L. Jackson, Abbie Cornish, Jackie Earle Haley, Michael K. Williams, Jennifer Ehle, Jay Baruchel
Studio Synopsis:
In RoboCop, the year is 2028 and multinational conglomerate OmniCorp is at the center of robot technology. Overseas, their drones have been used by the military for years, but have been forbidden for law enforcement in America. Now OmniCorp wants to bring their controversial technology to the home front, and they see a golden opportunity to do it. When Alex Murphy (Joel Kinnaman) – a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit – is critically injured in the line of duty, OmniCorp sees their chance to build a part-man, part-robot police officer. OmniCorp envisions a RoboCop in every city and even more billions for their shareholders, but they never counted on one thing: there is still a man inside the machine.
J.P.’s Take:
“Robocop,” or as I like to call it “Rebootcop,” is easily recognizable by its steel plated title graphics and heroic theme music. Surely these elements will set you back to familiar territory; however that’s where the familiarities end.
Director Jose Padilha and writer Joshua Zetumer opt for political satire as its plot device, rather than comic book antics. The latest “Robocop” becomes a layer cake, as each level succinctly work to bring forth a vigil anti/hero.
First off, the 2014 film opens with a CNN styled exposé called “The Novak Element,” hosted by an assured Pat Novak (Samuel L. Jackson). Novak’s guest a highly decorated General Monroe exclaims that advanced robots are patrolling all over the world. Yet they are banned here in the U.S. HMMMM…WHY? Meanwhile, a bigger problem arises as the war on crime is once again being fought in the streets of a dystopian Detroit. This opens the door for the evil empire…I mean corporate giant Omnicorp to enact a plan to end lawlessness.
On an ethical level, this film version toys with the question: should man and machine unite? OmniCorp CEO Raymond Sellars (Michael Keaton) goes before government officials, pleading his case as to bringing drones to be used on the streets. He feels by giving the machines control over public safety, this will somehow easy criminal burden off the minds of Detroit’s citizens. Sellars is seemingly sympathetic to the families who are victims of violence, as well as to the officers who were critically injured and killed in the line of duty. Dr. Dennett Norton (Gary Oldman) shares Sellars sympathetic view, although he’s a bit apprehensive of how Raymond plans to circumvent the illegality of the drones.
On an emotional level, one particular scene is especially poignant, when Murphy discovers that he’s been Frankensteined. Unable to comprehend his state of being, he believes he’s still in a coma induced dream. Moreover, when he becomes more drone than sentient machine, the effects this has on his wife Clara (Abbie Cornish) and young son David (John Paul Ruttan) are disheartening. This connected the audience to his condition. I’d freak out as well at the sight of my cybernetic self. In the ’87 brethren a similar scene played out in an understated tone; however, the sentiment was still felt.
I give kudos to the remainder of the cast: Jackie Earl Haley, who plays cybernetic tech/soldier Rick Mattox; Aimee Garcia as scientist Jae Kim; Marianne Jean-Baptiste as Chief Karen Dean; and Jay Baruchel as OmniCorp marketer Tom Pope for their integral roles.
From a visual stand point, the rebooted “Robocop” is packaged in glossy first person shooter video game sheen. It cleverly disguises much of the violent scenes in choppy chaotic tidbits and strobing gun muzzle flashes. I look back on the predecessor and remember how violent and gritty it was. I still have a fondness for how it was created. It bared a quirky comical element, while keeping its graphic novel spirit. It sent shivers down my spin. I wish I could say the same for this up –to– date version, instead the comedy here felt muted or practically unnecessary. That’s my only qualm however.
Many know the legacy of the cybernetic officer that is Alex Murphy, who is part man, part machine. I felt this version engaged me and I’m hoping it will spawn a new franchise, although nothing compares to the previous embodiment.