And I liked it. Quite a bit. (And not just for all the on-location shots of Downtown Motown, including a ton of exterior shots of GM’s Renaissance Center.)
Maybe I am just tired of films that make artistic statements and am ready for one that is a low-rent summer-esque blockbuster. RoboCop certainly fit the bill.
Gone is the original film’s Swiftian satire of Reagan-era fear of one’s own neighbors. No comic undertones in this somber affair. In its place is a grittier/glossier take on post-9/11 American xenophobia and the supercharge it gives to the military-industrial complex’s ongoing economic prospects.
In fact, the film begins with a very telling sequence wherein robot police forces jackboot their way through some unidentified Middle Eastern country, lining the streets with men, women, and children deemed “nonthreatening” only after an invasive infrared scan (or two).
These scenes are interposed with footage of Samuel L. Jackson as an even cartoonier version of a Rush Limbaugh/Bill O’Reilly television pundit casting his death darts at liberal politicians who won’t allow such android stormtroopers to police American streets. Yes, his character proudly wears a little “Stars and Stripes” pin on his lapel and tosses the word “patriot” around the way some people discuss the weather.
Satirical or not, this film isn’t afraid to telegraph its punches.
Instead of sardonic Peter Weller in the title role, we have a more emo RoboCop (his armor is even all black) in Swedish actor Joel Kinnaman. Yes, RoboCop cries. A lot. Kinnaman does a fine job grounding the wackadoodle proceedings, which involve a decent Detroit cop being blown to smithereens, being reconstructed in droid form as part of a martial law experiment conducted by big bad OmniCorp, and then proceeding to solve his own murder much to the chagrin of, well, everyone.
Unlike Weller, Kinnaman as Alex Murphy consistently and genuinely seems distraught by his unlikely circumstances, and the scenes between his otherwise cardboard wife (Abbie Cornish) and son are effectively poignant, chiefly through his presence.
The rest of the cast is fleshed out (no pun intended) by a great group of ringers (and a surprising number of Oscar nominees): Gary Oldman as the Dr. Frankenstein-mad-genius-with-a-conscience who transforms Murphy from beat cop to Tin Man; Michael Keaton as OmniCorp’s believably “country club casual” money-hungry CEO; Jackie Earle Haley as a junkyard dog lieutenant in Keaton’s army-for-hire; Jennifer Ehle as Keaton’s coolly calculating corporate counsel; Marianne Jean Baptiste as a smoothly corrupt police chief; and Jay Baruchel doing his dorky-James-Franco-wannabe thing as Keaton’s chief marketing nerd.
I don’t know that the world really needed a RoboCop remake but, as an exercise in taking a well-worn narrative and using it to tweak our post-millennial materialism, self-preservation, insecurity, and fear of the unknown, it runs like clockwork.
beautifully written…fabulous summary sentence!!! wishing someone would make the perfect, meaningful, landmark film about animal welfare and rights really soon…
Agreed wholeheartedly, Susie! Hopefully one day soon that film will make its way to the multiplex. It is long overdue
thanks for this great review roy. i generally am a bit down on remakes but this one sounds decent and of course i love the detroit connection. i know there are metal smiths at work, as we speak, building the robocop sculpture to place downtown.
and the last great movie i saw that addressed the rights and lack of rights for animals, was ‘blackfish,’ made me sad and shocked from beginning to end. hope it makes a difference, i know it has for me –
Thanks for the recommendation, Beth. We will have to check that one out. And yes, I think the Detroit aspect made me like this movie better than I otherwise would have. It’s perfectly fine, not great, but I was entertained by it. And even chuckled a time or two.
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