In a dystopic, gang-ridden Detroit in near-collapse. In an effort to stamp out crime, the forces in power reconstruct the body of a policeman, killed on duty, within a steel shell and call it RoboCop. Plagued by memories of his death, he hunts down the supervillian responsible for it.
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Contrary to J-L Nancy's reflection in "L'Intrus" on the intrusion on thought of a body foreign to thought, RoboCop spotlights the intrusion on body of thoughts foreign to body. And parallels between Nancy's and Verhoeven's restitutiones ad integrum run free: crossing personal and technological contingencies which in the graftee operate the metaphysical adventure of post-death experience, the vacillating, montage "I",
Now celebrating its thirtieth anniversary, ROBOCOP would seem all the more prescient in terms of its positing of a world reigned over by an increasingly militarized and privatized military-industrial security complex. Verhoeven enjoys taking the piss out of the people who are basically paying to get what they want. This is high-minded mockery, obviously for the most part over the heads of its targets. Still: funny.
Stridently confident visual storytelling, unencumbered by unnecessary narrative bridges just a gutsily simple satire on American gung-ho ballsiness. It's this quality that lifts it above the contemporary 'SchwarzenStone' runarounds of the day, and like the proverbial bull it runs amok amongst it's media and corporatist soft targets like a splendidly unsubtle take on Frankenstein's Monster.
This is a classic of science fiction cinema. Paul Verhoeven brings us a delightful display of shameless, gore, sex, and violence in this futuristic gem that did not need a remake because the sequels sucked too. Nothing can top the original, sometimes you can't catch lightning in a bottle more than once.
re-rating. I'm not following Verhoeven's hype, but the opportunity to review or see his work in a movie theater has allowed me to update my relation with his films, including this initial experience in the North American industry. Inserted in one of the most creatives artistic movements of the 80's, the bionic body, a film that reinvents a political action cinema, turning it into an ironic cinema of in(ter)vention.
Forget all the disposables examples of the genre that fill today's theatres and watch Robocop, THE GREATEST SUPERHERO FILM EVER MADE and the only one that has an origin story that doesn't drag on for ever. While the action is fun, it's really all the comedic elements that shine through especially when their combined with the violence. Great villains, relatable hero and the iconic ED-209 make this Verhoeven's best.
RoboCop – both the film and the crimefighter – are full of contradictions. The character is part man, part machine; the film is part bloody action flick, part smart comedic satire. It’s also one of the rare films to do both well. It’s an action film with brains, but with balls, too. http://filmcapsule.wordpress.com/2011/04/22/robocop/
"I'd buy that for a dollar." And fortunately that's all I paid to see this film.
This film was so promising at the start. It was showing me some great direction and some lovely shots but it ended up being a below average film in which part of the story is unbelievable and at one point I even saw a glass window break before a body even hit it. The film was okay but it could have been really good.