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RoboCop is set against a very different near-future backdrop: an embarrassingly lumbering, inefficient monstrosity that had a habit of shooting 's RoboCop, its star Peter Weller said that he knew as soon as he met Paul . Although derided by one or two outlets, we'd argue that the scene where the full extent. RoboCop is a science fiction action film, directed by Paul Verhoeven. We' re scheduled to begin construction in 6 months. .. [Writhing, Robocop briefly manages to hold up his gun]: Dick Jones: Ah. Still a little fight left in you. . "Peter Weller on Feminism Sequels and More" by Will Harris, AV Club, Sep 13, Robocop meets the bare minimum, but in terms of exceeding the political and then a scene later wipes out a building full of gun runners.
Two undercover detectives meet with illegal gun dealers in a restaurant; gunfire breaks out, one man jumps through a glass door shattering it to the street and another one is blown through a glass window when he is shot we see some blood. A cyborg approaches a car and punches through the driver's side window, breaks a man's arm, pulls him out, and steps on the man's hand to obtain information; the man screams and gives the information.
During the upload of a police department database, a cyborg becomes agitated, having a seizure until his power is cut off he flashes back to the car bombing that injured him several times.
Robocop  [PG] - | Parents' Guide & Review | schizofrenia.info
We see an injured cop in a hospital room with an oxygen tube attached to his nose and we hear that he will recover as a machine reads his vital signs beside the bed his face appears somewhat abraded.
When a scientist manipulates part of a cyborg's brain tissue with an instrument, he causes the cyborg to say that he tastes peanut butter, which he does not like.
During a second obstacle course, the cyborg has received "combat mode" software and reacts faster against a larger number of robots, decapitating one of them in a shower of sparks; his supervisor threatens him with pain and malfunction if the supervisor would shoot the cyborg with the largest caliber gun, especially in the face.
We see photos of patients that show an ex-cop without legs from mid-thigh to foot, another ex-cop paralyzed and slumped in a wheelchair and an overweight ex-cop with only stumps for arms and legs. Men argue about black market gun sales. One man asks another man to kill a police detective and the first man says it's too dangerous. We hear that a male criminal was convicted of rape. A news reporter declares that America needs more cyborgs on the streets to cut crime rates to "0" and that cyborg technology can save more wounded law enforcement officers.
The media calls for the use of androids on US city streets to fight crime.
Numerous tall robots and security droids that look like Star Wars Imperial Walkers flood onto the streets in several locales and frighten people; a woman screams at one of the walkers she is unharmed. Robots scan people for weapons and can see muscle and bones. American troops in wars of the future are replaced by drones and heavily armed robots. All present, but different. I agree with all your points, Tasha. I respect that the film tries to go its own way.
A mediocre movie but a great remake? The Enemy Within, two massive hits in their native Brazil that also served as political flashpoints both in that country and abroad.
The continuity between Padilha and Verhoeven, two foreigners offering their outsider perspectives on America, makes him seem like the perfect choice.
RoboCop vs. RoboCop / The Dissolve
I left not knowing what the film was ultimately trying to tell me. But I enjoyed so many of the little pieces on their own, particularly in their relationship to the first film. Padilha and Zetumer have some unusual storytelling instincts that work well in the moment, but not for the big picture. In the testing phase, RoboCop takes down an entire warehouse full of drone soldiers with minimal effort.
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So when he arrives at the warehouse full of criminals led by the Clarence Boddicker equivalent, I was dreading a fight sequence that would try to up the ante by being twice as long and twice as big, while still being entirely redundant with the earlier segment.
Skimping on what could be another obligatory action sequence, turning it into almost a punchline, denying a villain his moment in the spotlight, and making it clear that these particular bad guys are just outclassed, and the real enemies are elsewhere—these are all interesting decisions. They stay within the puckish sense of humor of the first film, but pull the storyline sharply away from it. I appreciated all of it—within its moment.
The action peaks early with the trial-run warehouse battle. Does that make more sense?
20 Fascinating Facts You Might Not Know About The Original ‘Robocop’
In the original, everything hung together: It all balanced nicely, and everything worked in service of a film that moved. But the scene that always gets me is when he saves the rape victim. I will notify a rape crisis center. In short, nothing here worked as well as in the original, despite some interesting ideas. When I think about the differences between the two films in this respect, the new film feels like a lot of wasted energy. It occurs to me now, too, that such a scenario could have provided the film with another metaphor about end-of-life decisions, which would have opened up an entirely new political front.
And the first RoboCop throws all that into sharp relief for me: I feel like I want to see a remake of the remake, because the potential for greatness is there.