Nonstop comic book violence for adults with memorable gory sequences, intense action and extreme make-up. The sequence where Peter Weller gets blown to tiny bits is extreme even today. Great black satire and humor too, especially the news-reports that appear scattered through the film makes me laugh all the time. Among the best in it's genre
as a kid, I think it's a shitty movie, GAVAN IS STILL BETTER. but, as an adult, well..I still think it's shitty, but I always admired how they managed to put a heart (the scene when he struggled with his re-found memory of his death and his family) among the shitty, predictable, action plots.
Oversimplified at times but coherent revenge flick that is still a lot of fun to watch. And that's mostly because of larger than life villains, sadistic violence and great make-up effects. The use of stop motion brings freshness and makes ED-209 quite disturbing antagonist. Corruption and technological monopoly wrapped in dystopian cyberpunk of Detroit plays as a foreshadowing of the genre alikes.
For its age it is surprisingly good. And surprisingly prescient. "We are practically the military" says megacorp. A political message that you would not see today in this type of production. The gender angle is also much saner than anything that could be done nowadays.
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.
Robocop is in my DNA, viewed too often, too young. Masochist relationship with aestheticised violence, genre that functions in and above its form. The Cyborg Manifesto. Does the experiment fail because we can't separate man from machine or because we try? Schlockier than remembered, but nothing purifying in its violence, no redemption in renouncing flesh.
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",
I think its exposures of the media, police, and corporate warlords are mostly valid, but I have serious reservations about its solutions. This is a film clearly operating from the perspective that the world is corrupted by blurred lines between the police, corporations, and the media to such an extent that violence is the best recourse for cleaning it up. On the other hand, the movie fits together really well.
You are already see plenty of elements that after Verhoeven will use in one of is master pieces, "Straship Troopers". Still, you easily find it too, plenty of bad taste elements that reminds you the initial work. So Robocop is symbolic figure to characterize his work, between the excessive kitsch from the past and is new appearance, more clean in is approach of the new medium (his cinema and the television parody).