RoboCop Break-Down

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Evil company Omni Consumer Products gets a contract from the city government to privatize the police in Detroit. Crime-fighting cyborgs: The company leads street cop Alex Murphy (Peter Weller) into a fight with crime lord Boddicker (Kurtwood Smith) so they can use his body to test their RoboCop prototype. But when RoboCop learns about the company's evil plans, he turns on his boss.

It's hard for me to forget my fanboy side when I'm reviewing Robocop, a movie by Paul Verhoeven in which a police officer is killed and turned into the ultimate crime-fighting machine. The movie has a lot of action, great scenes, and a cool idea. Robocop is one of the best movies I've ever seen.

But, as it turns out, Officer Murphy's story does not stop there!

But is Robocop really just a machine, or will the memories of his "human" past keep him from being able to forget them?

The action continues on the streets, particularly when Robocop faces off against Boddicker and his buddies. On his first night out, Robocop witnesses a heist with an automatic pistol, Emil (Paul McCrane) frightening a gas station worker. This showdown not only provides great action, but also brings back memories for Robocop, who recognizes Emil as one of Murphy's murderers.

Despite the thrilling action, Robocop is more than just a series of gunfights. The "creation" of Robocop, as seen from his point of view, is one of the film's most spectacular scenes (those moments when, early in the transformation process, he regains consciousness). During the New Year's Eve celebrations, Robocop is strapped to a table at Omni's labs and we witness most of what happens in small bits.

Movie Reviews

So if you like movies with a message, you'll like Robocop.

In the movie "RoboCop" there is a scene early on when a robot goes crazy. It has been set up to tell a criminal to drop his gun, then shoot him if he doesn't. The robot, which is ugly and unwieldy, is wheeled into a board meeting of the company that wants to sell it for a lot of money. A junior executive is chosen to pull a gun on the machine, and he or she does. Warned: The exec lets go of his gun and puts it away. The robot repeats the warning, counts to five, and shoots the guy dead, then it dies too,

Because the scene comes out of nowhere in a movie that looked like it was going to be a serious thriller, it throws us off guard. We don't know where "RoboCop" is going any more, and that's one of the movie's best things, too.

Oddly enough, a lot of the robocop's personality is expressed by his voice, which is a mechanical monotone. Machines and robots have spoken like this for years in the movies, and now life is beginning to copy them; I was in the Atlanta airport a few weeks ago, boarding the shuttle train to the terminal, and the train started talking just like robocop, in an uninflected monotone. ("Your-attention-please-the-doors-are-about-to-close.")

I laughed at the joke. Nobody else did this. Robotic audio was used because the recorded message could have been made with a normal human voice. The goal of the robotic audio was to make the commands seem like they came from an authority that could not be appealed to. In "RoboCop," Verhoeven and Weller get a lot of mileage out of the conflict between the voice that is so sure and the person who is becoming more and more confused.

RoboCop was released in North America on July 17, 1987. In its first weekend, the picture earned $8 million from 1,580 cinemas, an average of $5,068 per theater. The weekend's top films were a re-release of 1937's Snow White and the Seven Dwarfs ($7.5 million) and the horror sequel Jaws: The Revenge ($7.2 million). RoboCop remained the top film of the weekend with $6.3 million, followed by Snow White ($6.05 million) and Summer School ($6 million). RoboCop earned $4.7 million in its third weekend, behind La Bamba ($5.2 million) and the horror films The Lost Boys ($5.2 million) and The Living Daylights ($11.1 million).

A different director's vision would have resulted in a bland action picture, according to The Washington Post. Verhoeven's European filmmaking style lacked rhythm, suspense, and pace, according to Dave Kehr and the Chicago Reader, who deemed the picture overdirected. Aryan blandness was misrepresented in RoboCop by Verhoeven's usual ability to express the "sleazily psychological" via physicality. With his enormous clothing, Weller was commended by both the Washington Post and Roger Ebert for his portrayal, which evoked pity, chivalry and vulnerability. And his death became even more horrific because of Weller's beauty and elegance, according to The Washington Post. In contrast, Weller "hardly registered" for the Chicago Reader. Variety called Nancy Allen the film's sole human warmth and Kurtwood Smith a well-cast "sicko sadist"

Many reviewers talked about the movie's violent content. ED-209 killing an executive was so violent for Ebert and the Los Angeles Times that they found it intentionally funny. Ebert said that ED-209 killing an executive changed the audience's expectations for a science-fiction movie that seemed to be very serious and simple. A newspaper in the Los Angeles area thinks that the violent scenes worked well at making people both sad and moved at the same time. It was not all bad: Kehr and Walter Goodman didn't like RoboCop because they thought that its satire and critiques of corporate corruption were used as an excuse to show violence. They thought the violence had a "brooding, agonized quality ... as if Verhoeven were both appalled and fascinated" by it. The Christian Science Monitor said that critical praise for the "nasty" film was a sign of a preference for "style over substance"

RoboCop Break-Down

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