Skip to main content

It’s the illusion of freewill.

Robocop
(2014)

(SPOILERS) How long before you can buy the Robocop remake for a dollar from bargain bins? Not very, I’d hazard a guess (if anyone watching it will even bother buying it, at this stage in the rise of the download world). Its greatest virtue is that it isn’t terrible, but stating that it’s superior to that other recent Paul Verhoeven remake (Total Recall) is merely damning Robocop 2014 with faint praise.


None of the signs were promising, from the reveal of the suit onwards. It’s a graceless design, Street Hawk with the de rigueur Batman pectoral ribbing. But a sharp story, adeptly told will forgive a thousand design flaws. The original movie is an unsurpassable classic (in that respect, the Total Recall reboot didn’t have its work quite so cut out for it), not only for the savagely satirical script but also the muscular dynamism Verhoeven brought to action. Once he was saddled with an impossible suit he worked out just how to shoot it to make it iconic. And he told his tale in a tight, linear manner. Robocop 2014 is 20 minutes longer than the original, but it feels significantly baggier. It’s also fundamentally skewered by the lack of focus the luxury of expansion brings.


The trajectory of the Robocop 1987 was so clear, so crisp, there was insufficient time to reflect on how almost as soon as he came into being Omnicorp decided to junk him. Here, the increased background information serves only to raise questions about the logic of the entire scenario. Part of the problem is that, with a legacy to play with, screenwriter Joshua Zetumer has brought ingredients from outside of the original (notably the second movie). Instead of a story about robot (cyborg) regaining his humanity, cop Alex Murphy (Joel Kinnaman) awakes with his consciousness fully enabled and then has it dampened. While this decision has its virtues, most notably in producing the strongest and most affecting scenes in the picture, it shunts everything in a stop-start sideways direction. There’s a much longer lead-in before Murphy is blown up by a car bomb. By the time Muprhy’s emotional centres are shutdown to ensure he conveniently rehearses some of the action antics of original Robocop it’s clear the makers of this film have gone into reverse and fatally upset what they have got that’s fresh. By not having the courage of their convictions they satisfy no one.


The fun of the first film is in part down to Verhoeven’s flirtation with and commentary on the fascist impulses behind his super cop. Robocop arrives and he does lots of cool stuff; Dirty Harry-style we see him take down a series of perps in a montage of arrests. Director José Padilha approaches his take so literally that he leaves his central character looking rather silly (not just because his costume is rather silly).  When Padilha style is all handheld and choppy cutting; fine for a down and dirty depiction of urban warfare, but seriously undercutting any physical impact the character might have. If he’s not interested in such things (as the more philosophical early stages suggest) that’s fair enough, but he’s stuck playing against a mismatched script. Time and again, Murphy’s cop duties play out in a muddled and murky fashion. An attack on the villain’s drug lab takes place in darkness (remember the first film’s corresponding scene?) Robocop’s encounter with the Clarence Bodicker equivalent (Patrick Garrow), the man who put him where he is, is almost perversely under-emphasised.


Since the script follows many of the same key set pieces as the original, but with slight variations, comparisons are impossible to avoid. So Michael K Williams’ Lewis is left to kill another nemesis, Jackie Earle Haley’s Maddox. Which further emphasising Murphy’s impotence. Maddox is really nasty, because he keeps calling Murphy a robot and a tin man. Robocop needs rescuing from the ED 209s too, and his climactic encounter with Michael Keaton’s Raymond Sellars has no sense of catharsis or triumph (if nothing else, we at least get to see a couple of moments where Keaten cuts loose, a manic ball of energy that makes the prospect of a Beetlejuice 2 considerably more appealing than it otherwise might be). This Murphy is placed in a nightmare situation but Padilha doesn’t even have the decency to allow him any kind of victory over it. There are too many villains with too little personas, so it’s no surprise some of them end up half forgotten. Marianne Jean-Baptiste’s Chief Dean’s involvement just peters out; it’s lucky she turns out to be a baddie, because she kept turning up at OCP out-of-the-blue (actually, her presence there still doesn’t make much sense as she wasn’t in league with them).


The original may have dealt in caricatures, but they were entirely memorable caricatures. No one here passes muster. Lewis is consigned (as unfortunately most of Williams’ big screen roles seem to be) to a couple of scenes; there’s no real sense of the relationship that existed between Peter Weller and Nancy Allen. Abbie Cornish’s Clara Murphy gets more screen time than Angie Bolling did, but no one knows what to do with her after the first reel.  They certainly don’t give her any hard choices to make, having set up a scenario that should be teeming with them. Instead she frets a lot and turns up out of the blue in the middle of a street to plead with Alex while some tinkly music lets you know its supposed to be heart-rending.


Unfortunately, it’s merely clumsy. Like the corrupt cops who show up to conspire nefariously in a TV interview, reeking of bad dialogue. Padhila wants grit, but much of what we see has a $100m sheen, not matter how much he shakes his camera. It’s the reverse of Verhoeven, who made a little go a long way with convincingly grimy locations but a very clear staging and compositions. He also dealt in broad strokes, which meant he was tonally consistent even when dealing with the emotional core of Murphy’s situation.


More time than most is spent with Gary Oldman’s Doctor Norton, but his turns of motivation are in service to the needs of plot rather than character. He’s intended to be largely sympathetic, but he gets morally superior at the wrong moments. When he announces that he has rendered Murphy as merely a robot during conflict scenarios, it’s Jennifer Ehle’s Kline (surprise, she’s under-used too) who points out his lack of ethics.


In its bid to be different, Robocop 2014 ends up indifferent. Verhoeven had it out savagely for the corporations and the mercilessly shredded a society built on capitalism (it came out the same year as Wall Street). While this Omnicorp serves the almighty dollar, Padilha is conflicted and unwilling to express a clear position. Perhaps he’s just confused. OCP does do good too you know. One might argue the worst tycoons are never overt villains either (but the first head of OCP, the “Old Man”, wasn’t either until the sequel), but when the needs of the plot require Sellars to shift gears into outright maliciousness it forsakes any such notion and rather begins to look like it had no real thoughts in its head to begin with. When Robocop reaches the final scene, and the picture has just ended, the pervading feeling is one of anti-climax. And that’s probably because the movie hasn’t been building towards anything. We leave with a shrug, because by that point, if they ever did, director and writer have lost the thread of whatever they were trying to say.


The satirical element is bereft of wit or sparkle. Samuel L Jackson’s Pat Novak gets maybe the funniest, strangest, moment in the movie, going through his warm-up exercises over the MGM lion logo, but his targets are so in-your-face there’s no point trying to pretend there’s anything clever going on here. It’s clearly a call out to the news bulletins of the original (also seen in Starship Troopers) but it’s mostly leaden. And jokes about robophobia, Doctor Who’s The Robots of Death aside, were funny the first couple of times Futurama did them. 


There’s an attempt to be topical with the drones element, but it’s dumped there; introduced in the first scene and then left dangling. The all important drones bill is referenced throughout, but the street scenes in Tehran suggest a pay off that never comes. Like everything else, Murphy never really has worthy opponents; perhaps if we’d seen drones going awry on the streets of America (and the OCP robots don’t go awry, even if they kill a wee nipper) there’d be some conflict to root for. The moment where Murphy arrests a 60 year old man is about the only clever scene in the picture in this regard, as it effectively plays against supercop fascism; Murphy shows what a bad motherfucker he is by threatening someone who has little propensity for misdeeds left in him. It’s satire for morons. (Speaking of swearing, this is a movie that goes so low as to fish for laughs from Jackson bleeped-out expletives.)


Padilha directs competently, but with little real attitude or flair. He’s not delivering a big studio movie that is thematically dead, but he’s still beholden to someone else’s studio-approved plot. His coups come early. If blowing up Murphy rather than torturing him shears the character of motivation for revenge (almost every choice here undercuts dramatic potential), the awakening as a man trapped in a metal shell holds genuine horror, more palpable than any grue you may see in the 18 certificate original (this is only a 12) and an indication that censors are incredibly unnuanced in how they judge material. When Murphy runs amok, breaking out of  the research facility and leaping the walls, it’s a bracing scene, and promises much more than the rest of the picture can deliver. It also delivers one of the most indelible shots, as Murphy lies prone in a paddy field (the location itself is a surprise), the camera hovering overhead.


But it’s the follow-up, as we see Alex shorn of a body except for his lungs and part of his spinal column, which is most devastating. There’s an enormous emotional impact here but, because Padilha wants to go further than Verhoeven did with symbolism (Murphy smashing in the video in his for sale house, his wife having moved on with her life, his shooting jars of babyfood), he’s left unable to follow through with his ideas. Murphy holds out to get back to his wife, but there’s no physicality or warmth possible. And because this is a 12 there’s no broaching of the fact that his options for a fulfilling marriage have gone the way of his lower torso. Again, the need here to subscribe to the template of the original overrides the writer’s ability to make good on the alterations; persuading Clara to sign him over, persuading Alex to carry on because his wife would want it. Zetumer doesn’t have the skill to make these scenes work.


As far as the lack of gratuitous violence is concerned, it’s not a be all and end all except in as much as the entire premise of Robocop is an extreme one; after the initial trauma everything the content is diluted, apart from the bits that are made blunderingly obvious (Pat Novak). Murphy tazering bad guys is just dull. Padilha repeatedly makes weird song choices on the soundtrack, as if he wishes to divorce the viewer from the dramatic potential of the scene. If a skewering was intended in terms of celebrating the violence Murphy inflicts (or has the facility for) it fails because he isn’t really inflicting very much, except in simulations or against robots.


On the plus side, there’s little in the way of lazy referencing of the first. Using a similar suit at first only announces how much better it was (still a shit redesigned visor, though), but then they use the chunky suit sounds throughout even though this one is all about stealth and sleekness. Kinnaman (who is very good, but doesn’t have the subtle responsiveness of Weller) looks kind of goofy in his black number, but that’s no great surprise. Using the Pouledoris score at moments, in a watered down form, is a poor move, as it only evokes how sonically appropriate it was.


This is still the second best Robocop movie, but that’s because the other two are pretty lousy. Outside of Highlander (which was no classic to begin with), no franchise has pissed itself away like this. But then, as this picture has discovered, where do you go with the story? After facing existential issues at the outset, Robocop 2014 ducks them or thinks mentioning the soul counts as heavyweight philosophical manoeuvring. This is a story with a great idea, rather than one that is ripe for continuation. Murphy can’t really grow or move on; he can only protect and serve and shoot at shit. Expose the deeply disturbing heart of the idea, and there’s little you can do with it afterwards that that doesn’t look like a massive cop out. Robocop 2014 isn’t as free of personality as the Total Recall remake, but it has a similar lack of boldness and vision. Production values and CGI can only mask so much, and increasingly little as the hollow centre grows. Everything here – design, cast, staging, rewriting, scoring –  is functional and unexceptional. There’s a great movie to be made about the inescapable nightmare Murphy awakes to during the opening third of the movie, but it’s not going to be a Robocop movie.


Comments

Popular posts from this blog

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Dude, you're embarrassing me in front of the wizards.

Avengers: Infinity War (2018)
(SPOILERS) The cliffhanger sequel, as a phenomenon, is a relatively recent thing. Sure, we kind of saw it with The Empire Strikes Back – one of those "old" movies Peter Parker is so fond of – a consequence of George Lucas deliberately borrowing from the Republic serials of old, but he had no guarantee of being able to complete his trilogy; it was really Back to the Future that began the trend, and promptly drew a line under it for another decade. In more recent years, really starting with The MatrixThe Lord of the Rings stands apart as, post-Weinstein's involvement, fashioned that way from the ground up – shooting the second and third instalments back-to-back has become a thing, both more cost effective and ensuring audiences don’t have to endure an interminable wait for their anticipation to be sated. The flipside of not taking this path is an Allegiant, where greed gets the better of a studio (split a novel into two movie parts assuming a…

I don't like bugs. You can't hear them, you can't see them and you can't feel them, then suddenly you're dead.

Blake's 7 2.7: Killer

Robert Holmes’ first of four scripts for the series, and like last season’s Mission to Destiny there are some fairly atypical elements and attitudes to the main crew (although the A/B storylines present a familiar approach and each is fairly equal in importance for a change). It was filmed second, which makes it the most out of place episode in the run (and explains why the crew are wearing outfits – they must have put them in the wash – from a good few episodes past and why Blake’s hair has grown since last week).
The most obvious thing to note from Holmes’ approach is that he makes Blake a Doctor-substitute. Suddenly he’s full of smart suggestions and shrewd guesses about the threat that’s wiping out the base, basically leaving a top-level virologist looking clueless and indebted to his genius insights. If you can get past this (and it did have me groaning) there’s much enjoyment to be had from the episode, not least from the two main guest actors.

When two separate events occur simultaneously pertaining to the same object of inquiry we must always pay strict attention.

Twin Peaks 1.5: The One-Armed Man
With the waves left in Albert’s wake subsiding (Gordon Cole, like Albert, is first encountered on the phone, and Coop apologises to Truman over the trouble the insulting forensics expert has caused; ”Harry, the last thing I want you to worry about while I’m here is some city slicker I brought into your town relieving himself upstream”), the series steps down a register for the first time. This is a less essential episode than those previously, concentrating on establishing on-going character and plot interactions at the expense of the strange and unusual. As such, it sets the tone for the rest of this short first season.

The first of 10 episodes penned by Robert Engels (who would co-script Fire Walk with Me with Lynch, and then reunite with him for On the Air), this also sees the first “star” director on the show in the form of Tim Hunter. Hunter is a director (like Michael Lehman) who hit the ground running but whose subsequent career has rather disapp…

An initiative test. How simply marvellous!

You Must Be Joking! (1965)
A time before a Michael Winner film was a de facto cinematic blot on the landscape is now scarcely conceivable. His output, post- (or thereabouts) Death Wish (“a pleasant romp”) is so roundly derided that it’s easy to forget that the once-and-only dining columnist and raconteur was once a bright (well…) young thing of the ‘60s, riding the wave of excitement (most likely highly cynically) and innovation in British cinema. His best-known efforts from this period are a series of movies with Oliver Reed – including the one with the elephant – and tend to represent the director in his pleasant romp period, before he attacked genres with all the precision and artistic integrity of a blunt penknife. You Must Be Joking! comes from that era, its director’s ninth feature, straddling the gap between Ealing and the Swinging ‘60s; coarser, cruder comedies would soon become the order of the day, the mild ribaldry of Carry On pitching into bawdy flesh-fests. You Must Be Joki…

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.

Well, who’s going to monitor the monitors of the monitors?

Enemy of the State (1998)
Enemy of the State is something of an anomaly; a quality conspiracy thriller borne not from any distinct political sensibility on the part of its makers but simple commercial instincts. Of course, the genre has proved highly successful over the years so it's easy to see why big name producers like Jerry Bruckheimer and Don Simpson would have chased that particular gravy boat. Yet they did so for some time without success; by the time the movie was made, Simpson had passed away and Bruckheimer was flying solo. It might be the only major film in the latter's career that, despite the prerequisite gloss and stylish packaging, has something to say. More significant still, 15 years too late, the film's warnings are finally receiving recognition in the light of the Edward Snowden revelations.

In a piece for The Guardian earlier this year, John Patterson levelled the charge that Enemy was one of a number of Hollywood movies that have “been softening us up f…

Luck isn’t a superpower... And it isn't cinematic!

Deadpool 2 (2018)
(SPOILERS) Perhaps it’s because I was lukewarm on the original, but Deadpool 2 mercifully disproves the typical consequence of the "more is more" approach to making a sequel. By rights, it should plummet into the pitfall of ever more excess to diminishing returns, yet for the most part it doesn't.  Maybe that’s in part due to it still being a relatively modest undertaking, budget-wise, and also a result of being very self-aware – like duh, you might say, that’s its raison d'être – of its own positioning and expectation as a sequel; it resolutely fails to teeter over the precipice of burn out or insufferable smugness. It helps that it's frequently very funny – for the most part not in the exhaustingly repetitive fashion of its predecessor – but I think the key ingredient is that it finds sufficient room in its mirthful melee for plot and character, in order to proffer tone and contrast.

You're going to need a nickname, cos I ain't saying that every time.

Solo: A Star Wars Story (2018)
(SPOILERS) I had a mercifully good time with Solo: A Star Wars Story, having previously gone from considering it a straight-up terrible idea when first announced, to cautious optimism with the signing of Phil Lord and Chris Miller, to abject pessimism with their replacement by little Ronnie Howard, to cautious optimism again with the advent of various trailers and clips. I have numerous caveats, but then that's been par for the course with the series ever since Return of the Jedi, whichever side of good or bad the individual entries end up falling. The biggest barrier to enjoyment, judging by others’ responses, seems to be the central casting of Aiden Ehrenreich; I actually thought he was really good, so the battle for my allegiance was half won right there. No, he isn't Harrison Ford, but he succeeds admirably in making Han Solo a likeable, brash, smug wannabe scoundrel. Less so at being scruffy looking, but you can’t have everything.

It looks as i…

Whoever comes, I'll kill them. I'll kill them all.

John Wick: Chapter 2 (2017)
(SPOILERS) There’s no guessing he’s back. John Wick’s return is most definite and demonstrable, in a sequel that does what sequels ought in all the right ways, upping the ante while never losing sight of the ingredients that made the original so formidable. John Wick: Chapter 2 finds the minimalist, stripped-back vehicle and character of the first instalment furnished with an elaborate colour palette and even more idiosyncrasies around the fringes, rather like Mad Max in that sense, and director Chad Stahleski (this time without the collaboration of David Leitch, but to no discernible deficit) ensures the action is filled to overflowing, but with an even stronger narrative drive that makes the most of changes of gear, scenery and motivation.

The result is a giddily hilarious, edge-of-the-seat thrill ride (don’t believe The New York Times review: it is not “altogether more solemn” I can only guess Jeannette Catsoulis didn’t revisit the original in the interven…