Reaction: RoboCop
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The movie Robocop, by Paul Verhoeven, is about a murdered police officer who is turned into the ultimate crime-fighting machine. It's hard for me to forget my fanboy side when I'm reviewing it. The movie has a lot of action, great scenes, and a cool idea. Robocop is one of the best movies ever made.
A new precinct for Officer Murphy (Peter Weller). Clarence Boddicker (Kurtwood Smith) and his gang, arguably Detroit's most ruthless gangsters, are confronted by him and his new partner, Officer Lewis (Nancy Allen), while on duty. Murphy is trapped and shot by Boddicker's men in an abandoned warehouse.
Murphy's corpse is handed over to the Omni Corporation shortly after his death, to be utilized in a top-secret project that, if successful, would result in a new kind of officer, a cyborg with a bulletproof shell and built-in, cutting-edge armament. The "Robocop Program," spearheaded by Bob Morton (Miguel Ferrer), who went over the head of Omni's top executive Dick Smith (Ronny Cox) to acquire funds for his idea, is a great success, and Robocop is soon patrolling the streets, fighting lawbreakers.
But is Robocop really more machine than man, or will the memories of his "human" past keep him from being fully robot?
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.
Then enjoy the mayhem!
This is very funny. Before the MPAA Code and Ratings Administration asked for it to be cut down, I don't know if it was even more funny. It is funny in the same way that the assembly line in Chaplin's "Modern Times" is funny. There is something funny about logic being used in a situation where it doesn't make sense.
In a movie that looked like it was going to be a very serious thriller, the scene surprises us. This puts us off guard. We don't know where "RoboCop" is going any more, and that's one of the movie's best things about it now.
He thinks he can make better police officers by mixing robotics with human brains. This is what the young scientist thinks. This is what the young scientist thinks. Then Peter Weller, a hero cop, is killed in the line of duty. He gets his chance when he does. Well, not yet. The first "robocop" is built around that human core. It's a half-man, half-machine that runs with perfect logic, except for the shards of human spontaneity and intuition that may be lurking somewhere in the background of its memory.
Nancy Allen co-stars in the film as a female policeman who worked with Weller before he was killed. She notices something about the robocop that she recognizes, and she knows what it is: It's her former colleague, Weller, who's inside that steel suit. Because Weller's original nose, mouth, chin, and jaw all visible, it shouldn't have taken her long to figure it out. His creator, like Batman and Robin, seems to believe that if you can't see someone's eyes, you'll never identify them.
I burst out laughing. No one else had done so. The objective of the robotic audio style was clear: to make the directives seem to come from a pre-programmed authority that could not be appealed to, despite the fact that the recorded message could have been produced in a normal human voice. The contradiction between that totally confident voice and the progressively bewildered person behind it gets a lot of mileage in "RoboCop," thanks to Verhoeven and Weller.
He does an outstanding job of building empathy for his character while spending much of the movie disguised under some type of makeup apparatus. Indeed, he seems to be more "human," as a robot than as a human person at the beginning of the film. When it comes to finding out what actually happened to him, Nancy Allen becomes a compelling companion in his fight.
When RoboCop first came out in North America, it was on July 17, 1987, and it was available in a lot of places. When the movie opened, it made $8 million from 1,580 theaters, which is an average of $5,068 for each theater. In the first week of its release, it was the weekend's top-grossing movie. Snow White and the Seven Dwarfs ($7.5 million) and Jaws: The Revenge ($7.2 million) came in second and third. This second weekend, RoboCop continued to hold on to the top spot with an extra $6.3 million in ticket sales. It was ahead of Snow White ($6.05 million) and Summer School ($6 million). During its third weekend, RoboCop made $4.7 million. It came in fourth behind La Bamba ($5.2 million), The Lost Boys ($5.2 million) and The Living Daylights ($11.1 million).
This movie was influenced by the action of The Terminator (1984), the stories of Frankenstein (1931), Repo Man (1984), and Miami Vice, as well as the TV show. As Blade Runner had done for Los Angeles, RoboCop came up with its own, futuristic vision of Detroit. A lot of critics had a hard time figuring out what kind of movie this one was. They said it had elements of social satire and philosophy mixed in with action, sci-fi movies, Westerns, slapstick, romance, superhero comics, and camp.
Its most effective attempt, according to Kehr and The Washington Post, was the film's mockery of businesses and their interchangeable employment of executives and street-level criminals. An version of an old tale about a tragic hero seeking forgiveness, the Los Angeles Times said, is changed into a machine that continues falling to compassion, emotion, and idealism by turning the protagonist into a machine. A noble hero battling back against corruption, evil, and the stealing of his humanity, with morality and technology on his side, was a fulfilling story for the Los Angeles Times and the Philadelphia Inquirer, respectively. The Washington Post said that ""With all our flesh-and-blood heroes failing us—from brokers to ballplayers—we need a man of mettle, a true straight shooter who doesn't mess about with Phi Beta Kappas and never puts anything up his nose," Murphy's narrative of rediscovering his humanity. This world needs 'RoboCop.'"
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