Film Review: RoboCop (2014)

Also known as: OmniCorp (fake working title)
Release Date: January 30th, 2014 (Malaysia, Singapore, Taiwan)
Directed by: José Padilha
Written by: Joshua Zetumer, Edward Neumeier, Michael Miner, Nick Schenk
Based on: character by Edward Neumeier, Michael Miner
Music by: Pedro Bromfman
Cast: Joel Kinnaman, Gary Oldman, Michael Keaton, Samuel L. Jackson, Abbie Cornish, Jackie Earle Haley, Jay Baruchel, Zach Grenier

Strike Entertainment, Metro-Goldwyn-Mayer, Columbia Pictures, StudioCanal, 118 Minutes

Review:

“This, my friends, is the future of American justice. How many like Thomas King will pay for their crimes now that RoboCop is here? Yes, let’s not shy away from what this means, people. Men weren’t up to the task, but Alex Murphy, a robot cop, was.” – Pat Novak

I had no urge to see this when it came out, even if I was a big fan of the first two RoboCop films and a lot of the comic books since then. This looked terrible, boring and like every other shitty remake that’s trying to milk a classic without offering up anything new or entertaining.

I wasn’t wrong. This is exactly that.

The only reason I watched this is because I just revisited the original trilogy of films and if I could sit through RoboCop 3, I could at least try and sit through this. That being said, this is better than RoboCop 3 but that doesn’t really say much about the quality of this picture as the aforementioned movie is absolute dogshit.

The only thing that makes this movie a little bit palatable is the cast. I was kind of intrigued that this attracted so many high profile actors to it and they really are the best part of the film. Gary Oldman owned all of his scenes, Michael Keaton was neat as a baddie and Samuel Jackson was the most entertaining element in the entire picture.

Sadly, none of the charm from these three solid actors rubbed off on Joel Kinnaman, who was the main star and the one thing in the film that had to work if this movie wasn’t going to be a complete dud.

The problem is that there really wasn’t a difference between human Alex Murphy and RoboCop Alex Murphy because Kinnaman played this like a robot from start to finish. He was a charisma vacuum that sucked so hard that he drained the charisma out of the more talented actors around him. As good and emotionally effective as Abbie Cornish was as RoboCop’s wife, she was stifled by her co-star’s complete inability to play his role convincingly. It’s like a wrestling match where the guy getting beat up doesn’t sell for the wrestler doing all of his signature moves.

There are other problems as well.

For instance, there are no memorable action scenes. I guess the part where RoboCop storms OmniCorp and fights a bunch of ED-209s is the highlight but its really kind of forgettable. By comparison, the two times RoboCop confronts an ED-209 in the original film, it is more memorable than this. So maybe less is more? This film kind of Michael Bays it up with an over the top action sequence that doesn’t serve much of a purpose other than wrecking RoboCop’s armor so that he looks cooler for the final showdown.

Also, the emotional journey of Alex Murphy is confusing and really sloppy. It’s not portrayed in a fluid way and I think we’re just supposed to guess at his emotions as Kinnaman gives blank stares while flashbacks overtake his circuits. Every now and then a scientist explains what’s happening but we really didn’t need this in the first two films, as Peter Weller conveyed real emotion regardless of being a robot.

There also aren’t any clear cut villains in this in the same way that there were in the other films. Sure, you suspect that Michael Keaton is evil but there isn’t a “big evil” that you need to see vanquished like Clarence Boddicker, Dick Jones or Kane from the first two movies.

Also, Alex Murphy’s death in this is weak and completely lacks the effect that his death had in the original film. Which also means that I need to point out that this film also completely lacks any real violence. The first film had a huge impact because you believed that the world RoboCop inhabited was extremely dangerous.

There were no montages of RoboCop cleaning up the streets like we got in the first two films. Those were always important sequences that helped build the world RoboCop lived and worked in. I don’t see this new version of Detroit as dangerous at all.

I did like the intro to the film though, which saw a bunch of ED-209s and RoboCop-like drones deal with a terror threat in Tehran but this felt like it was ripped right from the first act of the video game Metal Gear Solid 4. Granted, I love that game so seeing what appeared to be an homage to it was kind of cool.

Ultimately, this was pretty much a pile of shit. I think most people agree with me, as there haven’t been sequels to this and the next RoboCop movie, which is currently entering production, is a direct sequel to the first film and ignores this snoozefest completely.

Rating: 4.75/10
Pairs well with: skim milk and cardboard.

Film Review: Three Billboards Outside Ebbing, Missouri (2017)

Also known as: Three Billboards outside Ebbing, Missouri (stylized on screen)
Release Date: September 4th, 2017 (Venice Film Festival)
Directed by: Martin McDonagh
Written by: Martin McDonagh
Music by: Carter Burwell
Cast: Frances McDormand, Woody Harrelson, Sam Rockwell, John Hawkes, Peter Dinklage, Lucas Hedges, Abbie Cornish, Samara Weaving, Caleb Landry Jones, Clarke Peters, Željko Ivanek, Sandy Martin, Brendan Sexton III

Blueprint Pictures, Film4 Productions, Cutting Edge Group, Fox Searchlight Pictures, 115 Minutes

Review:

“What’s the law on what ya can and can’t say on a billboard? I assume it’s ya can’t say nothing defamatory, and ya can’t say, ‘Fuck’ ‘Piss’ or ‘Cunt’. That right?” – Mildred Hayes

I’ve been hitting the theater, trying to catch up on some of the indie films I’ve been missing. Luckily, I have a lot of days off to use between now and the end of the year, so playing catch up should be fairly easy now that Cinespiria has gotten through Darktober and Noirvember and there isn’t a theme for the month of December.

Three Billboards Outside Ebbing, Missouri was a really nice surprise. While I did expect to enjoy it, it wasn’t as straightforward and cookie cutter as I anticipated. But I probably should have known better with Martin McDonagh in the director’s chair, as In Bruges and Seven Psycopaths weren’t films that one could label predictable.

This picture has a magnificently solid cast but so did Seven Psychopaths and McDonagh has shown that he’s fully capable of managing an ensemble. Although, while this is an ensemble piece and everyone is well beyond satisfactory, Frances McDormand’s Mildred Hayes is center stage in just about every scene and she really put the weight of this picture on her back and succeeded, giving us another masterful performance. She is a tough cookie and she never relents in her quest to find justice for her raped and murdered daughter.

Woody Harrelson and Sam Rockwell both do fine in this film, as well. Both men play cops and, at first, based off of how the story starts, you aren’t really a fan of either man. Harrelson’s Sheriff Willoughby wins you over fairly quickly, as you sympathize with his illness and the toughness of his job and a system that can’t always catch the bad guy. Rockwell’s Dixon is incredibly unlikable for two-thirds of the film but there is a real turning point where the angry boy with a badge becomes a man. Both cop characters, like all the characters can’t not be affected by the events of the story. People change and this is a film about character evolution and redemption, just as much as it is about justice or lack thereof.

This is the second film where I’ve seen Caleb Landry Jones play a nice and decent character, a departure from the psychos he played in Get Out and the revival of Twin Peaks. This guy has come along way since I first noticed him in X-Men: First Class and he’s really carving out a nice career for himself with a good amount of diversity in his roles. I hope to see a lot more from him in the future.

We also get to see character actors John Hawkes and Sandy Martin and both shine in their small but influential roles. Clarke Peters shows up and I always get excited when I see him, as he was one of my favorites in the underappreciated HBO show Treme. Another HBO alum, Peter Dinklage of Game of Thrones, plays a nice and sweet character in this. Brendan Sexton III, probably most remembered as the young shoplifting shithead in Empire Records and as a bully in Welcome to the Dollhouse, plays a character not too dissimilar from his earliest roles.

Three Billboards is a film that carries a lot of emotional weight and unfortunately exists in our sad reality where sometimes the worst people get away with deplorable acts. The film ends with two of the characters having to make a grave choice but we do not get to see what they decide to do. Like these characters, you want justice for Mildred’s daughter but you also have to ask yourself where the line is drawn while understanding that nothing will bring her back.
Rating: 8.25/10