In a time where remakes are a dime a dozen, MGM comes out with a remake of the 1987 cult-classic “RoboCop,” which isn’t nearly as good as the original, but who would expect it would be? I just can’t understand the notion why someone (José Padilha, in his Hollywood directorial debut) would want to remake a near-perfect film. At least this isn’t a poor film. Like the original, it follows police officer Alex Murphy (Joel Kinnaman); a loving husband and father, and a good cop – something that seems to be hard to find in the corrupted 2028 version of Detroit. When he has a lead on the main villain of the film – Antoine Vallon (Patrick Garrow) – his car gets blown up. OmniCorp, a leading force in robotic technology, sees Murphy’s condition as the perfect chance to make the so-called RoboCop – half-man, half-machine.
The most refreshing thing about this remake is to see the new versions of the ED-209, where the advancements in filming technology is able to create some great robots; while the movement of the ED-209 in the original in film is just laughably bad. This also takes some liberties in altering the original source. In the original, Murphy is actually brain-dead, if memory serves me correctly. In this one, Murphy is kept alive, only receiving bad burns from the explosion. This way, it helps the film become a question of who’s control in the robot suit; the robot or the man? That aspect of the film isn’t that compelling. It’s okay at first, but it’s not entertaining as it can be when Alex’s control instincts are altered to be quicker in combat; bringing about the theme of freewill. One other part some might not like about the film is when Alex isn’t all there, and he experiences a shift in personality. From this, themes of consciousness come about.When Murphy becomes unlikeable for a stretch, it’s reminiscent of that stretch in “Spider-Man 3” when Peter becomes distinctly unlikeable because he’s been overpowered by the venemous substance.
Since the wife and child are present characters in this film, one would think the filmmakers would want Murphy to communicate with them; but for a fair deal of the film, that enjoyable aspect is taken away from this feature. This stretch is poor because Murphy doesn’t feel like a layered character anymore, he is simply RoboCop. Viewers can tell they are trying to make RoboCop more human this time around; because of the fact that Murphy’s face is shown largely throughout the film, and his guard mask only comes down in combat as protection. For me, I believe that if Clara (Abbie Cornish), the wife, and David (John Paul Ruttan), the son, are present – they should be there to communicate with Alex, build each other as characters, as well as being used to show Murphy’s humanity. Alex’s family is his drive to keep going. Joel Kinnaman portrays him believably; but he’s often too depressed in parts, too robotic and vacant in other parts, and by the time he says a classic line, the delivery feels so forced that the film might be better without it. Abbie Cornish also portrays a character affected by the whole situation, and her performance is enjoyable.
Some other positive aspects of this film are the visual effects, the explosive action and the suit design; the black is nice. The film is pretty entertaining even if some plot components feel a bit empty (particularly when Murphy is too robotic). One thing I do miss is the gore of the original. A lot of the times there is a gunshot and a random henchy just goes down for the count. Lame. There is some gore, but it’s not that enjoyable – it takes place in a hospital room, where we see what is left of Alex – his lungs, throat and head. It’s oddly compelling, but in a sickening way. The story isn’t nearly as engaging as the original, either, because the originals’ villains are much stronger. Who can forget Kurtwood Smith as one of the meanest cats around town? Also, what happens to Murphy to be put into the suit is more underwhelming because the motive for the hit is to just get him off the main criminal’s tail; I think, like in the original, no motivation to kill Murphy (unless you count sheer meanness as a motivation) is a much more terrifying idea.
Michael Keaton, Jackie Earle Haley, Gary Oldman occupy supporting roles on the OmniCorp team. Keaton is Raymond Sellars, the mastermind behind OmniCorp; Gary Oldman is Norton, Murphy’s doctor; and Haley seems to be a weapons expert who makes sure everything is in tip-top-shape with the robots. Michael K. Williams portrays Murphy’s partner; I couldn’t help but wonder at some points what it would be like to see a black man in the RoboCop suit. Well, not just any black man, him in particular; because I find myself to be impressed by his acting capabilities, and I just can’t wait to see him in a leading role. Sam L. Jackson is another supporting character, portraying a TV personality who is present from time to time with developments on the Dreyfuss Act, which doesn’t let robots on American soil. At the story’s heart, this is really about how robots might be able to better an intensely corrupt Detroit, and, to a greater extent, the rest of the world if this test deems successful. It would decrease crime levels, but with robots occupying spots on the police force, one has to wonder how many jobs will be lost. How would the police officers make a living? Would there be a job waiting for them at OmniCorp? Just some food for thought, there, to finish off the review.