Amazon has purchased MGM studio for the a purchase price of $8.45 billion with IPs including James Bond, Robocop, Rocky, Tomb Raider, and many more. In regards to the James Bond franchise, Amazon will only own 50% as the other 50% and complete creative control is still owned by Barbara Broccoli and her brother, Michael …
A RoboCop prequel series is in development that will focus on the young Dick Jones, who in the original flick was Senior Vice President of the megacorporation Omni Consumer Products. As it is a prequel, it won’t feature RoboCop, but at least the good news is that the RoboCop Returns movie is still happening alongside the …
Warner Bros. Interactive Entertainment and NetherRealm Studios released a new Mortal Kombat 11: Aftermath gameplay trailer spotlighting Fujin, Sheeva and RoboCop, who are all joining the character roster as part of the upcoming, action-packed expansion. The trailer provides the first in-depth look at all three playable fighters with brand-new gameplay footage showcasing their different abilities, …
Warner Bros. Interactive Entertainment announces a new expansion for Mortal Kombat 11 with “Aftermath,” which features RoboCop voiced by original actor Peter Weller. The expansion will be available digitally starting May 26 on the PS4, Xbox One, Nintendo Switch system, PC and Stadia. Check out the trailer and official announcement below. Mortal Kombat 11: Aftermath …
Wow, this is bad news as Neill Blomkamp will not be directing the new RoboCop movie that has been in development. Blomkamp tweeted out the news early last night. “Off Robocop. I am shooting new horror/thriller and MGM can’t wait/ need to shoot Robocop now. Excited to watch it in theaters with other fans,” Blomkamp …
District 9 director Neill Blomkamp is currently developing a sequel to the first 1987 RoboCop movie with it learned the flick will feature the original suit. A fan questioned Neill Blomkamp on Twitter regarding the status of the new RoboCop movie, with Blomkamp replying, “Script is being written. Going well! Imagine watching Verhoeven do a …
Neill Blomkamp is directing a new RoboCop movie that has a lot of people excited, which happens to include Dimitri Vegas, who is a superstar in the electronic music scene. Dimitri Vegas took to Twitter to show just how pumped he is for the new film. “So hyped for the new Neill Blomkamp movie I decided to …
Check out the latest trailer for the upcoming RoboDoc: The Creation of RoboCop documentary that wants more f’n blood! The project started off as a Kickstarter back in 2016 bringing in more than $40,000 and is now finally seeing the light of day. A 5-minute teaser can be found below as well. The Verhoeven mantra was “Blood. I …
With a new RoboCop movie in the works, which is a sequel to the first movie from 1987, director Neill Blomkamp says he wants Peter Weller back as the cyborg crime fighter. A fan tweeted out to Neill Blomkamp that he recently watched the original RoboCop movie and said he can’t wait to see who is cast as the …
Back in January saw it first reported that a Robocop sequel is in the works, and now it’s announced it will have director Neill Blomkamp on board to helm the flick. MGM Studios announced the news, with Neill Blomkamp offering on Twitter, “Very excited about this.” The new movie has been described as a sequel …
Much like the new Terminator movie in development from James Cameron that will be dismissing everything following T2, it’s learned the RoboCop franchise is going a similar route. In an interview with ZeitGeist Magazine, the writer of the 1987 RoboCop movie, Edward Neumeier, reveals he is currently developing a RoboCop movie that is a sequel …
Kick9 teams up with MGM Interactive to bring iconic character RoboCop into the global mobile MOBA phenomenon, MOBA Legends. MOBA Legends is a free-to-play fast-paced arena combat game that puts players into fierce and fast-paced 10-minute competitive battles against other players on iOS and Android devices. Unique legends, including RoboCop, band together to destroy minions …
HEROES TAKE CENTER STAGE AT MACHINIMA’S DIGITAL CONTENT NEWFRONT PRESENTATION
Programming Slate Includes Blue Ribbon Content and DC Entertainment’s Justice League: Gods and Monsters Chronicles Season 2, #4Hero, and DC’s Hero Project along with RoboCop, Clive Barker’s Creepy Pasta, Happy Wheels, High School 51 from Robert Orci, and Collaborations With Some of the Most Renowned Social Video Stars In The World
LOS ANGELES, CA, May 4, 2015 – Machinima’s debut at the Digital Content Newfronts was nothing short of “heroic.” The first global many2many programming service focused on fandom and gamer culture, Machinima unveiled a programming slate designed to elevate and celebrate a global community of gamer, comic and hero fans through the most innovative content on the Internet. Partnerships with Blue Ribbon Content and DC Entertainment, Metro-Goldwyn-Mayer, Clive Barker, Roberto Orci and Bunim/Murray Productions, along with some of Machinima’s leading creator talent, showcase Machinima’s commitment to developing content across all genres, formats and platforms.
“Fandom and gaming engenders so much passion and engagement; it’s a cultural shift uniquely connecting with the most valuable millennials,” said Chad Gutstein, Machinima’s CEO. “It’s this deep connection to our audience that has made Machinima the ninth largest video entertainment platform in the United States, and the second most watched programmer on YouTube. With our new slate, we are reminding our fans and our clients of one very important fact: Machinima is back!”
Machinima’s programming slate includes:
Justice League: Gods and Monsters Chronicles Season 2
From visionary producer and animator Bruce Timm (Batman: The Animated Series, Superman: The Animated Series), Justice League: Gods and Monsters Chronicles turns the DC Universe upside-down. In this dark, alternate world, telling the good guys from the bad guys is never easy: Superman is not the son of Jor-El, he’s the son of General Zod; Wonder Woman is not from peaceful Themyscira, but rather the warring nation of Ares; and Batman is more vampire-bat than man…and he’s not Bruce Wayne. It is unclear if our greatest heroes are here to protect us…or to rule us. With Season 1 set to launch in June, Machinima, Blue Ribbon Content and DC Entertainment have already begun development on Season 2, a 10-episode follow-up to the initial limited series.
DC’s Hero Project
Machinima, Blue Ribbon Content, and DC Entertainment are setting out to discover the next great creator for the world of DC Comics. Eight contestants compete in elimination challenges to develop a live-action short video based on their own interpretations of characters from DC Comics’ Starman comic book series. Well-known guest judges and celebrity special guests will join bestselling writer and DC Entertainment Chief Creative Officer Geoff Johns and a panel of esteemed judges to oversee the entire competition.
A modern adaptation of DC Comics’ cult-favorite classic “Dial H For Hero”, #4Hero is a live-action, VFX-heavy action-comedy about a young woman named Nellie Tribble who is quietly desperate to make her mark on the world, but wholly unprepared to do so. Nellie stumbles upon a life-altering smartphone app that allows her to instantly become a Super Hero for a short amount of time. The problem is her super powers are dictated by whatever is trending on social media at that moment, and they are always only semi-useful.
Clive Barker’s Creepy Pasta
For the first time, horror legend Clive Barker is stepping away from the creatures of his own imagination and entering into the world of Internet horror fan fiction, affectionately known as Creepy Pasta. Starting with viral urban legends (e.g. Jeff the Killer, Slender Man and Ben Drowned), Clive Barker’s Creepy Pasta is an original series of live-action, blood-curdling short films. These new tales will be curated and adapted by Barker from submissions obtained through the creepypasta community, and produced by Machinima to scare you to your core.
“Dead or alive, you’re coming with me.” OCP’s Security Concepts Division’s RoboCop program is back in an all-new, short-form limited web series, based on Metro-Goldwyn-Mayer’s 1987 classic action film. RoboCop returns to Delta City where viewers ride along with the now standard-issue RoboCop officers as they respond to calls from dispatch. Tapping into current themes of the surveillance state, the series is shot from the first person point of view of the RoboCop officers’ heads up display, along with security cameras, dash-cams, and drones.
“Choose your inadequately prepared racer, and ignore severe consequences in your desperate search for victory!”
– Happy Wheels
Machinima will bring audiences an all-new original animated series based on Jim Bonacci’s hit online game Happy Wheels and produced by BMP Digital, the digital division of Bunim/Murray Productions (‘The Real World’, ‘Keeping Up With The Kardashians’). This must-see 10-episode short form series, which will feature fan-favorites such as Wheelchair Guy, Irresponsible Dad and Lawnmower Man, will expand upon the game that has more than 8 million players a month and showcase its notorious dark humor and penchant for blood and gore. Additionally, with over 3.1 billion video views amassed, BMP Digital is looking to leverage the voiceover talents of YouTube influencers such as Toby Turner (15.2M YouTube Subscribers, Cartoon Network’s The High Fructose Adventures of Annoying Orange) and others who have made this game so iconic.
Jerome ASF’s The Baka Chronicles
Adding to the gaming fervor, Machinima’s iconic Minecrafter Jerome ASF (3.6M YouTube Subscribers), will be teaming with N00b Adventure creator Jim Schwerfeger for an all-new series – The Baka Chronicles. Featuring Jerome ASF’s most beloved character, Baka, the series follows two unlikely server admins who problem-solve the hilarious antics of griefers, trolls, and kids who wreak havoc across their favorite multiplayer Minecraft server. Little do our heroes realize this job is a massive headache.
High School 51
Created and produced by Roberto Orci (Transformers, Amazing Spider-Man 2, Star Trek, Sleepy Hollow, Lost, Fringe) and Legion of Creatives, and starring Orlando Jones (Sleepy Hollow, Tainted Love, Drumline, MADtv),High School 51 is as out of this world as the name implies.
Hidden away in the heart of Area 51, Dream Lake High School is filled with mind-blowing technology, top-secret government programs and a student body that is cool, quirky, attractive, and…well, alien. No one from the outside has ever been allowed into the school and no human has ever attended…until now.
For 16-year old Alex Valencia, the first and only human ever to attend Dream Lake, high school is going to be tough. Fitting in will be one thing but his biggest challenge just might be saving the human race!
Additionally, Machinima is announcing the return of some of its most popular shows including AFK, Chasing The Cup, Realm, Battlefield Friends, Sanity Not Included, Deck Wars, and ETC.
The latest issue of Playboy has hit the stands which includes an interview with Frank Miller about his latest movie Sin City: A Dame To Kill For.
The interview contains some interesting nuggets including Miller mentioning that Sin City almost never came to be as following Robocop 2, he was done with Hollywood.
I came back from RoboCop 2 convinced that writing a screenplay was the equivalent of building a fire hydrant and then having dogs run around and piss on it. I swore I’d never touch movies again. I don’t see how I could function in film if I didn’t have my comics. If I were one of those hungry screenwriters everybody sees in Hollywood, starving, begging and compromising for work, I’d end up at Musso & Frank’s bar with a martini, talking about the story I should be doing. I think screenplays are essentially stupid. I certainly do not regard working in Hollywood as a step up from comics, by any means.
Miller also goes on to state that he hates movies with comic characters that he has written and also takes a jab at Christopher Nolan and his Dark Knight Trilogy.
When people come out with movies about characters I’ve worked on, I always hate them. I have my own ideas about what the characters are like. I mean, I can’t watch a Batman movie. I’ve seen pieces of them, but I generally think, No, that’s not him. And I walk out of the theater before it’s over.
It includes all of them. I’m not condemning what he does. I don’t even understand it, except that he seems to think he owns the title Dark Knight. [laughs] He’s about 20 years too late for that. It’s been used.
Miller says he liked the Marvel movies as they are similar to comic book readers featuring “a bunch of mixed-up crazy kids,” and if you have been wondering if Miller prefers Batman over Superman:
I love Superman. Do I love Batman more? They’re not people. They’re only lines on paper.
Miller wrote The Dark Knight Returns comic book story, which Batman Vs. Superman is in part based on, 300, is known for Daredevil and lots more.
Though RoboCop was being compared to a “John Carter” by some, it turns out the box office returns for the movie might actually warrant a sequel.
RoboCop is closing in on $200 million worldwide from a $100 million budget.
To date, RoboCop has netted close to $51 million in the U.S. and a $136 million international gross with the movie released Valentine’s Day weekend.
José Padilha directed the remake which stars Joel Kinnaman as Alex Murphy aka RoboCop.
Padilha previously made comments that the movie was “hell to make,” but it looks as if all the hard work has paid off as certainly Sony can’t ignore the fact that the movie has made almost double its budget.
Gary Oldman, Michael Keaton, Abbie Cornish, Jackie Earle Haley and Samuel L. Jackson also star in RoboCop.
DARK HORSE ANNOUNCES TWO ALL-NEW EDITIONS OF FRANK MILLER AND
WALTER SIMONSON’S CLASSIC
ROBOCOP VS. THE TERMINATOR SERIES!
MILWAUKIE, OR, FEBRUARY 21—Nearly twenty years after its first publication, the classic four-issue miniseries that teamed two great characters with two great creators, Frank Miller and Walter Simonson’s RoboCop versus The Terminator, returns to print in two formats: a hardcover graphic novel and a gallery edition!
Comics’ greatest creators pit the supreme machine killer against the ultimate cybernetic cop in one of the most celebrated crossovers ever! When fate reveals that the technology that built RoboCop will lead to the creation of Skynet, Alex Murphy must engage in time-twisting battle against both the murderous computer network and the human resistance fighters out to destroy him! This newly restored collection features remastered colors from Steve Oliff and an introduction by 2 Guns writer Steven Grant!
The super deluxe RoboCop verus The Terminator Gallery Edition ushers in Dark Horse’s new gallery series format—reprinting Walter Simonson’s original art at full size, exactly as it appeared on his drawing table! Relive Simonson and writer Frank Miller’s seamless blend of the RoboCop and Terminator worlds while marveling at the sheer virtuosity of Simonson’s draftsmanship in all its original glory.
In addition to the full story, the gallery edition provides the greatest insight available into Simonson’s process, with pages of his original pencils and promotional art faithfully reproduced, along with a revealing foreword by the artist himself!
“When Frank first sent me the story for the series, I loved it. And it was both a treat and a challenge to try to bring it to life in pictures,” said Walter Simonson. “I couldn’t be more pleased to see RoboCop versus The Terminator back in print after all these years. I can only hope that a new generation of readers will take as much delight in discovering the series as we took in creating it.”
The RoboCop versus The Terminator hardcover graphic novel collection arrives on sale at finer comic shops everywhere on July 2, 2014, for $24.99. The gallery edition will be available on July 9 for $125.00.
About Dark Horse
Founded in 1986 by Mike Richardson, Dark Horse Comics has proven to be a solid example of how integrity and innovation can help broaden a unique storytelling medium and establish a small, homegrown company as an industry giant. The company is known for the progressive and creator-friendly atmosphere it provides for writers and artists. In addition to publishing comics from top talent such as Frank Miller, Mike Mignola, Neil Gaiman, Brian Wood, Gerard Way, Geof Darrow, and Guillermo del Toro, and comics legends such as Will Eisner, Neal Adams, and Jim Steranko, Dark Horse has developed its own successful properties, including The Mask, Ghost, Timecop, and SpyBoy. Its successful line of comics and products based on popular properties includes Star Wars, Mass Effect, Buffy the Vampire Slayer, Aliens, Conan, Avatar: The Last Airbender, Halo, Serenity, The Legend of Zelda, Game of Thrones, and Domo. Today Dark Horse Comics is the largest independent comic book publisher in the US and is recognized as one of the world’s leading publishers of both creator-owned content and licensed comics material.
ABOUT BOOM! STUDIOS
Founded by Ross Richie in 2005, Diamond Gem Award-winning “Best Publisher” BOOM! Studios (boom-studios.com) generates a constellation of best-selling Eisner and Harvey Award-winning original and licensed comic books and graphic novels with the industry’s top talent. BOOM! Studios is the home of Mike Carey’s SUICIDE RISK, Clive Barker’s NEXT TESTAMENT and HELLRAISER, Paul Jenkins and Humberto Ramos’ FAIRY QUEST, PLANET OF THE APES, Max Bemis’ POLARITY and Mark Waid’s IRREDEEMABLE. Steven Grant’s graphic novel 2 GUNS was recently released as a feature film from Universal Pictures, starring Denzel Washington and Mark Wahlberg. BOOM!’s all-ages imprint KaBOOM! publishes Charles Schulz’ PEANUTS, Jim Davis’ GARFIELD, Cartoon Network’s ADVENTURE TIME and REGULAR SHOW, Mike Kunkel’s HEROBEAR AND THE KID, and Roger Langridge’s Eisner Award-winning SNARKED. In June 2013, BOOM! acquired Archaia Entertainment (archaia.com). Archaia is the Eisner and Harvey Award-winning graphic novel publisher of MOUSE GUARD, COW BOY, GUNNERKRIGG COURT, RUST, SPERA, JIM HENSON’S TALE OF SAND, and many other great titles. In October 2013, BOOM! Studios entered into a unique first-look relationship with 20th Century Fox, giving the studio access to its library of titles and giving the publisher access to Fox’s vast catalog of films.
Nothing Says “I Love You” Like … Another 80s Remake?
A Film Review of Robocop (2014)
By Lawrence Napoli
First I’d like to say happy Valentine’s Day or Weekend or whatever to everyone taking some extra time to show some of those good vibrations to the ones closest to your hearts. I wish you all good times, good talks and good (where appropriate) whoopee.
As for the Robocop remake, I’ve said it before and I’ll say it again: “I don’t like remakes.” I will never appreciate the principal of revisiting fictions of the past, calling it a “re-imagining” and then putting the exact same title on it. Heck, so many remakes claim to be exploring different perspectives, different takes and doing different things with the plots when in fact they really don’t and if they do their characters aren’t as good, the stories aren’t as interesting and the new setups seem odd in that nothing seems to be relevant to the original film, thus invalidating the need to copy the title in the first place. A good example of this would be another Paul Verhoeven film that was recently remade back in 2012: Total Recall.
So if you don’t want to copy an original film (frame for frame) with contemporary special effects and computer graphics, but still want a story that harkens to its roots and still be good, all at the same time, what do you do? The options are limitless for the unrestricted writer, but in the case of the Robocop remake, the strategy at work was some aesthetic bodywork to the candy coated shell of a sci-fi/action film while completely overhauling the gooey, caramel filling of pulp shock value and ultra-violence by upgrading the engine with the heart healthier dark chocolate of political and social commentary concerning the ghost in the machine, the manipulation of “security” at home and abroad as well as Corporate America’s role in the whole equation. Essentially, director José Padilha and writer Joshua Zetumer turn the Robocop franchise into something else and in my opinion, something much more interesting. Gone are the excessive blood squibs, gone are the close-ups on limb explosions, gone is the casual vulgarity, gone is the shameless sexual objectification, gone is the R-rating. What remains is incorporating a nearly dead human being into the body of a robot, his (or its) struggle to reintegrate with his family and community, corporate conspiracy and action (despite the fact that it cuts away every time for PG-13 purposes).
This contemporary update of Robocop features a story and script that clearly desires to step away from its predecessor, but what’s astounding is that it does so with such assertiveness that is extremely rare coming from a rookie in the screenwriting game. Joshua Zetumer has one credit on imdb.com (and no bio – with a few un-credited rewrites) and it’s for Robocop (2014). Perhaps the collaboration of MGM and Columbia-Sony had seen far too many shameless rip-offs by other up and coming writers that adding another to the list of remake throwaways wasn’t worth another hundred million dollar budget. The studios took two major risks in 1) putting novices in command of production and 2) signing off on such a divergent tale from the original. I imagine that Padilha and Zetumer were constantly reassuring studio execs at every stage that “he’s still Robocop, he’s still shooting bad guys, he’s still going toe to toe with other robots – don’t worry.”
With any story, there are strengths and weaknesses. As a whole, the Robocop remake is a much more intelligent use of the license that delves into global issues concerning security and the various costs of said security paid by governments, communities and individuals. In lieu of the random commercials that framed the audience in 80s sentiment from the original, the remake features media commentary from Pat Novak (Samuel L. Jackson) who lays out the exposition of this not so distant future as well as commentating on the progression of the active plot through the eyes of the media machine. These scenes run much longer than 30 second spots, but give the audience a much fuller perspective of the pro-corporate, pro-robot and pro-right wing perspective when it comes to the politics of handing all security over to inanimate objects.
It also features a large amount of dialogue concerning the ethics, morality and/or philosophy of the melding of man and machine. Every scene between Dr. Norton (Gary Oldman) and Alex Murphy (Joel Kinnaman) is intensely emotional as Murphy must deal with the gut-wrenching shock of accepting his new reality while the doctor must deal with the ever increasing guilt of “What have I done?!” to this living, breathing person.
All of this extra time spent with dialogue and exposition certainly leaves less room for the eye candy that is CG-driven action. I would guess that the actual amount of gunplay scenes are close to even between the original and remake, but everyone will remember the original for its graphic violence, which can easily be mistaken as being more “active” in and of itself. The remake attempts to compensate with much cleaner and fluid action sequences that features Robocop being more limber than look-away headshots and the odd, head-torso turn when navigating the general public. This Robocop moves in and out of cover quickly, can make a motorcycle fly and wields guns akimbo. The action also cuts away to some jarring, first person perspective shots from Robocop himself, featuring the various targeting and vision modes he’s privy too behind the helmet. I’m somewhat on the fence in regards to these moments because they seem a bit too video-gamey and I’d rather stay in Robocop’s world and not cross over to Call of Duty. The action is framed with a good enough balance among medium, wide and (obligatory) close-up shots that communicates robotic movement that is indeed superior to human and not simply a walking tank that stomps through its opposition with the grace of a dinosaur.
Creating a Robocop remake that is more intent with explaining the method rather than showing off the active madness demands a cast that will not mail-it-in at any point, from top to bottom. Thankfully, the performances all rank from solid to exceptional thanks in large part to established talent filling most of the roles. Michael Keaton makes for a less nefarious corporate villain behind OCP (but a villain nonetheless) who channels Steve Jobs in terms of presence, but combines it with the savvy of a pure salesman with no medical or technical proficiency to speak of. Jackie Earle Haley is pigeon-holed into another bad-guy role as OCP’s head robot-drone security man who provides a singular opposition to Robocop outside of the waves of drones he must dispatch. Haley’s smarmy delivery provides some welcome comic relief and general bad-assery. Jay Baruchel’s Tom Pope is your prototypical marketing/advertising tool who thinks only in terms of image and the way to sell image and he thankfully doesn’t develop some smooth-talking, suave presence just because the role demanded it. He is still the same awkward speaking, sniveling nerd, but just in a better suit that makes the audience want to hate the principal of “commercializing” more than we already do.
Abbie Cornish’s Clara Murphy is not put into many opportunities to succeed because she’s given one scene to establish “loving, devoted wife” and the rest of the time she is a woman put through the meat grinder of her husband being transformed into a machine, being manipulated by OCP and trying to retain her son’s (and her own) sanity amidst it all. With her role solely dedicated to demonstrating the personal toll of such a science experiment, it is impossible to demand actual chemistry with onscreen husband Alex Murphy, of which there is basically none. As for Robocop, Joel Kinnaman does a very adequate job in a leading role that requires less and less of his entire body to produce a performance. He portrays a tough as nails, undercover cop quite exceptionally, but it is his emotional vulnerability as Robocop “behind the curtain” or rather, as “a fraction of a man” who realizes a monstrosity in his new reality that any rational person would be begging to reject and abort. It’s a performance that’s as real as green screen gets.
However, this film really belongs to two actors. Samuel L. Jackson’s Tom Novak segments essentially produce a black Bill O’Reilly who presents his right-wing perspective with such commercial nuance that I keep expecting him to say “What’s in your wallet?” all the time. The fact that he plays his character with such seriousness and intensity makes his argument so shameless and un-forgivingly villainous that he’s about as cartoonish a politician as your garden-variety, hard-line Republican who actually buys into all the BS, or at least provides a convincing performance. Really? A purely synthetic police and military is such a great idea because they prevent American casualties, feel no fatigue and are most importantly “incorruptible?” Sure, robots, machines and software can’t be hacked, reprogrammed or effectively unplugged to accomplish that feat. CEO’s may be controlling the economic strings, but media icons like a Tom Novak can seduce and ensnare the rest of society which is basically anyone within eyeshot of a TV. Jackson may not be a “main character” in the Robocop remake, but he will be the one you remember.
This film is as much (if not more) Gary Oldman’s as it is (technically) Joel Kinnaman’s. For the life of me, I simply could not figure Oldman for throwing his hat into the remake parade because quite frankly, I thought it beneath an actor of his caliber who’s certainly made more than enough money over his career to be lured by a paycheck film. As the film stands, his role is a lynchpin to the plot and is ironically called upon to make the case for humanism despite his character being a scientist with medical background and a specialization in cybernetics. That’s the kind of role that Gary Oldman would be interested in and he expertly conveys a man torn between duty and morality; between the “could” of science and the “should” of science. The audience falls in love with his character in his very first scene and is constantly troubled by his inner turmoil thanks to the circumstances he is pushed into thanks to his job.
The Robocop remake is not meant to have any of the insight or intent of the original film which was an 80s period piece built around corporate greed, gluttonous consumerism and how it all connects to crime. Our corporate taskmasters remain in this day and age with basically the same agenda, but their influence has expanded to more than just the major cities of America. The larger “crime” at work is its infiltration abroad and the potential to invade the individual’s (literal) inner space. This film deals with the Frankenstein metaphors, the social ambiguities and the influence of “the conglomerate” directly through dialogue and has no interest in dressing it up as something else like ultra-violence. Some may be turned on by this, while others may be left pining for crotch shots and dismemberment. I would have liked to see an R-rated cut of this evolved take on Robocop, but alas, one can’t escape the business tether of Hollywood Land. Regardless, I was impressed at this film’s balance between brains and brawn despite the handicap of PG-13 and it tells a great story by emphasizing plot over spectacle.
This film is a success as a standalone. While it pays very modest respect to its predecessor with a couple familiar lines, retaining most of the original characters while altering some genders and ethnicities, as well as the general look of the lead, I would have loved this story to be entirely original; in name as well as in spirit. This film still doesn’t change my mind in regards to the negative stigma of remakes and reboots because this film had less to do with a re-presentation and more to do with slickly using an established franchise to satisfy studio execs while an entirely different story is told, emphasizing entirely different things, yielding a completely different experience from the original. Most remakes don’t have any of that in their culmination and execution. This one does and I would, in fact, buy that for a dollar!
The reporter tries to quickly recover, but not before Samuel L. Jackson offers a few thoughts of his own about how he isn’t every black guy.
The reporter still tries to move things along, but Jackson continues.
Laurence Fishburne was the actor in the Matrix Super Bowl commercial.
Gary Oldman lets it be known that Sony leaked the first images of Joel Kinnaman in the new RoboCop suit.
He says it was done as part of the film’s PR.
“What we did was we set that up. We leaked those pictures,” Oldman admitted to Yahoo. “That was absolutely a staged photoshoot.”
“Well what happens is you will get these people who are going to leak pictures, so it’s going to happen anyway,” he continued. “So, take a ‘paparazzi shot,’ but at least of the suit at an angle that you like, so you can ‘leak’ your picture first, and have some control over it.”
Joel Kinnaman also commented on the first reactions to the new RoboCop suit, basically telling the fanboys not to get all worked up while in their mother’s basement.
“The suit is digitally enhanced in post-production with CGI and that makes the complete product,” Kinnaman said, “So I didn’t get bothered with what somebody was saying when they’d just seen a fragment of it, and getting angry about seeing 20 percent of what it is. In my mind, I’m like – well, if you’re mad about it, and you want to spend your time being mad, in your mom’s basement, then you go ahead. But wait until you’ve seen the whole thing before you spend all that energy.”
I’m guessing most likely the studios leak the set images all the time to capitalize on the hype. Reportedly the first pics of new Superman Henry Cavill shirtless for Man of Steel were intentionally leaked as well.
This brings up a good question in regards to the validity of studios sending DMCA takedown notices to websites when the images are intentionally leaked, as it could be argued the studios are giving permission to use the images as they are intentionally released online by the studios themselves. The studios even have to send the notices under penalty of perjury.
“RoboCop” has a February 12, 2014 release rated PG-13 starring Joel Kinnaman, Michael Keaton, Gary Oldman, Abbie Cornish, Jackie Earle Haley and Samuel L. Jackson.
In RoboCop, the year is 2029 and multinational conglomerate OmniCorp is at the center of robot technology. Their drones are winning American wars around the globe and now they want to bring this technology to the home front. Alex Murphy is a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit. After he is critically injured in the line of duty, OmniCorp utilizes their remarkable science of robotics to save Alex’s life. He returns to the streets of his beloved city with amazing new abilities, but with issues a regular man has never had to face before. Director José Padilha (Elite Squad) reimagines the tale of part man, part machine, all cop starring Joel Kinnaman (The Killing) as the title character,GaryOldman (The Dark Knight Rises) as the scientist who creates RoboCop, and Samuel L. Jackson (The Avengers) as media mogul Pat Novak. RoboCop is being produced by Strike Entertainment’s Marc Abraham and Eric Newman, withEricCarraro as Executive Producer.