should i watch robocop y/n

i wanted the poll to last only 10 minutes.

or this: http://fantasiafest.com/2007/en/films/film_detail.php?id=27

the first robocop is great

isn't it though??

i voted y

so chili contest etc at barfly was fun?
i went to a soccer game but would've otherwise been into chili

yeah. to do my due diligence as a judge i had to eat 11 bowls. and i still ended up eating poutine at palais at 4am :/

ow

i'd buy that for a dorrar

i say that sentence, or at least think it, every single day.

there is NEVER a time when you shouldn't watch Robocop

what about if you are already watching big trouble in little china?

picture-in-picture

oh thank god

because of this thread i am watching Robocop tonight

see, i was gonna watch season 3 of the wire tonight but maybe i will reconsider

y y y y y y y y y y y y y

i just watched 'hot fuzz' - it's no robocop but is fun and funny and there are cops in it. however, they are not robocops :/

...is that on video??

here's me interviewing hot fuzz dudes: http://www.montrealmirror.com/2007/041907/film1.html

i just watched a good korean movie. a bloody aria. linked to it above. liked it a lot.

I am watching Silent Hill while re-orging my comix & waiting for delivery lasagna. I'd rather be watching Robocop, tho.

There should be a lolpic of porn actors / soldiers / undertakers featuring the phrase I'D RATHER BE WATCHING ROBOCOP in 24pt Impact.

6000 SUX

MADAM YOU HAVE SUFFERED AN EMOTIONAL SHOCK, I WILL NOTIFY A RAPE CRISIS CENTER

has anyone ever read that martin amis essay on the filming of Robocop II?

-- smokemon (eman), Monday, April 10, 2006 3:14 AM (1 year ago) Bookmark Link
ha..yes..awesome..i have tre-read that

-- bb (bbrz), Monday, April 10, 2006 12:43 PM (1 year ago) Bookmark Link
link?

-- Fight the Real Enemy -- Tasti D-Lite (ex machina), Monday, April 10, 2006 1:46 PM (1 year ago) Bookmark Link

link?

can you fly, bobby?

that's a great interview, s1ocki!
(To illustrate this, Pegg makes a robotic sound that can’t quite be reproduced phonetically but resembles something like a Transformer changing shape.)
haha
i really liked Hot Fuzz - lots of brilliant stuff, wld watch again

link?

-- latebloomer, Sunday, July 8, 2007 5:31 AM (6 hours ago)

A LINK OR OCNSULT YOUR LOCAL LIBARY

Automatic thread bump. This poll's results are now in.

best movie evar

bitches leave

COME QUIETLY OR THERE WILL BE... TROUBLE

"I LIKE IT"

watching this now

The arcade sidescroller was awesome

i had the nes one

http://us.geocities.com/flamar98/video/passado/nes/robocop.gif

sanskirt otm

best movie evar

-- cutty, Saturday, January 5, 2008 12:46 PM (3 hours ago) Bookmark Link

should i watch robocop 3 y/n

i was going to watch this tonight but i watched batman instead

look at my FACE, Dick

dirty harry is on

so no opinions on robocop 3

ok how about wtf am i watching rite now on wgn lol its called robocop: prime directives

Page Fletcher hasn't seen the RoboCop movies and no effort was made to mimic Peter Weller's RoboCop movements. Page Fletcher instead worked out a RoboCop movement system for himself that he felt was appropriate for where the character was, physically and emotionally.

lol

how can you play robocop having NEVER SEEN THE MOVIES

page fletcher is a FRAUD

btw who voted no on the original poll? fletcherites

Fletcher is occasionally confused with Rutger Hauer due to their physical resemblance and possibly because Hauer starred in the movie The Hitcher during the run of Fletcher's series The Hitchhiker.

http://images.amazon.com/images/P/B0000CBXZ5.01.LZZZZZZZ.jpg

"I could forgive the cheapness if the makers were enthusiastic, or spirited, or if the actors weren't so bored they are about to keel over and die. The Robo suits look terrible and could fall apart at any minute. The nobody playing him makes Robert John Burke's performance in RoboCop 3 look Oscar-worthy. Instead of striding with a heaving titanium chest, he kind of stumbles and bumbles like an old man without a Zimmer frame and has as much trouble ascending stairs as ED-209 did descending them. It's as if he was mimicking C-3PO."

hahhaa

CRANK THAT ROBOCOP

The nobody playing him makes Robert John Burke's performance in RoboCop 3 look Oscar-worthy.

zing?

physically and emotionally

THROW SOME D'S ON THAT COP

http://farm3.static.flickr.com/2105/2194956631_595eaed93b.jpg

ha Frank Miller is one of the scientists making drugs in Robocop 2 & he dies in an explosion!

NB: Robocop 2 is some bullshit (except for Tom Noonan) (maybe)

<img src="http://img.photobucket.com/albums/v48/w1nt3rmut3/dianerobocopisnowstandingbehindme.png";>

http://img.photobucket.com/albums/v48/w1nt3rmut3/dianerobocopisnowstandingbehindme.png

UNICOROBOCOP !!!!!!

bad language makes for bad feeling

http://tcritic.com/wp-content/uploads/2008/01/robocop-1-pictures.jpg

XD

http://www.flickr.com/photos/lostamerica/1342928564/

http://farm2.static.flickr.com/1100/940376769_4f7b3414f4.jpg

http://www.vakano.com.mx/imageseventos/evento88.jpg

http://farm2.static.flickr.com/1418/937429466_dc1b7fc0ce_o.jpg

http://dcartnews.blogspot.com/uploaded_images/CommiCon0007-797254.jpg

http://farm2.static.flickr.com/1146/1363730912_1bd9c7071c_b.jpg

Comic Con seems like such a whimsical place.

got this in the post this morning

http://upload.wikimedia.org/wikipedia/en/thumb/8/8f/Frank_Miller_RoboCop_1.jpg/385px-Frank_Miller_RoboCop_1.jpg

i think i prefer the film :(

which came first robocop 2 or lawnmower man

robocop 2 unless this is a trick!

That robocop unicorn is so dope.

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooobocop

oh fuck why would they do a thing like that?

RoboCop: Madame, you have suffered an emotional shock. I will notify a rape crisis center.

[cut to emotionally harrowing scene set in rape crisis center]

lol
noooooooooooooooo

aronofsky? christ.

(not equivocating mr. fountain with mr. of nazareth)

seriously, what a fucking overrated hack. the fountain was embarrassing.

slocki, as usual said it better. lol

he has a lot of fans and defenders, and i'm really curious as to why

aronosky, that is

does he still have fans?

i guess it's like... flashy editing + drugs + super-hammy melodramatic gritty subject matter = pretentious ppl like this shit

Darren Aronofsky's Robocop

o no its real

this is actually making me angry!
dude even looks like a total douche
lol my co-worker just said "requiem for a dream is the least subtle movie ever"

also i guess this makes us officially 'old' yknow when movies from our childhood/adolescence are being remade by pretentious overrated hacks

let me put it this way: just today on another message board i posted on a thread about the aronofsky-robocop story. i was going on about how aronofsky is totally overrated and that this is a terrible idea etc., etc. and everyone was jumping on me like i was crazy for not thinking aronofsky was brilliant.

I liked Requiem (would never watch it again though) but jeez the Fountain was terrrrrrrrible

lol that article

(Yes, I know we film nuts know him like he's our best friend -- but have you actually discussed The Fountain around the water cooler lately?)

you mean the water fountain

I DID NOT LEAK ROBOCOP!!!... THAT'S NOT EVEN THE FINISHED VERSION... I'M PRETTY UPSET ABOUT IT BUT THAT'S THE WAY LIFE IS SOMETIMES!

http://www.xxlmag.com/online/?p=28102

i cannot stop laughing when i hear this

"Niggas need to get their Tears for fears game up if they think this is what decent synth-pop is supposed to sound like."

Predator

shame I can only click "add to favorites" once

when all is said and done i think this is my best thread ever.

three people said no omg!

Robocroc:
http://www.dailymail.co.uk/news/worldnews/article-1162970/Meet-Robo-Croc-Ten-foot-crocodile-gets-metal-plates-41-screws-head-reconstructive-surgery.html
http://scienceblogs.com/tetrapodzoology/RoboCroc_head_shot_22-3-2009.jpg

I promised someone I'd watch it by tomorrow, but it's already 4:15 and I don't know if I feel like going to the library to pick it up. I need to decide in the next 10 minutes, someone encourage me.

it's always a good idea to watch robocop, do it.

there's no way on earth you will regret that decision if you get it

Already, I'm going now, thanks.

Also, on a class trip when I was 8-9 or so, I once saw the Robocop TV show being filmed downtown and got to see an actual proper robocop in costume. That's my robocop story.

robocop was the first 18 certificate film i saw and it still the best

GIVE THE MAN A HAND.

Well, listen, chief. Your company built the fucking thing. Now I gotta deal with it? I don't have time for this bullshit!

I'd buy that for a dollar!

p.s. Bitches, leave!

Lt Hedgecock: Okay Miller! Don't hurt the mayor! We'll give you what you want!
Miller: First, don't fuck with me. I'm a desperate man! And second, I want some fresh coffee. And third, I want a recount! And no matter how it turns out, I want my old job back!
Lt Hedgecock: Okay.
Miller: And I want a bigger office! And I want a new car! And I want the city to pay for it all!
Lt Hedgecock: What kind of car, Miller?
Miller: Something with reclining leather seats, that goes really fast, and gets really shitty gas mileage! Alright.
Lt Hedgecock: How about a 6000 SUX?
Miller: Yeah! Okay, sure! What about cruise control? Does it come with cruise control?
Lt Hedgecock: Hey, no problem, Miller. You let the mayor go, we'll even throw in a Blaupunkt!

bitches leave
― sanskrit, Saturday, January 5, 2008 12:55 PM (2 years ago) Bookmark

this is a really great line reading.

also ALL of miguel ferrer's lines in this film are just beautifully delivered. this whole movie is just one amazing character-actor turn after another. ronny cox. ray wise. miguel ferrer. dan o'herlihy, kurtwood smith. nancy allen is just OK but frankly given how horrible she is in other movies i'm grateful for that.

hell even the police captain gets some juicy lines.

the drug lord is the same guy as the dad from that 70's show right?

look at my face... DICK!

y

who the fuck voted no

x-rated version/director's cut is a must for extra ludicrous gibs

the answer to this question is always Y

y-rated movie ~.~

btw i read an interview with michael ironside the other day, he wasnt to play robocop as the internets would have you believe, he was to play boddicker. would this have improved the unimprovable i think so yes.

i mean he pretty much played that role in total recall, didn't he?

Saw the censored version on cable this weekend: "Ladies, leave."

that's why i revived, it was on G4 network

http://s3.amazonaws.com/data.tumblr.com/tumblr_l95l0xof771qd9jlto1_1280.png?AWSAccessKeyId=0RYTHV9YYQ4W5Q3HQMG2&Expires=1285326617&Signature=%2FFb2zRvpAePy2Q2FdumjtDBCZOY%3D

http://www.sweet-juniper.com/2010/10/part-kid-part-machine-all-cop.html

http://twitter.com/mayordavebing/status/34698788601860096

lollll

bitches leave

http://www.avclub.com/articles/detroit-will-have-its-robocop-statue-and-zodiac-mo,51939/

IF YOU THINK ITS SUCH A BAD IDEA OR A BIG FUCKING WASTE OF MONEY THEN TAKE YOUR HIGH MINDED RARIFIED FUCKING ASS OVER TO KICKSTARTER.COM AND START YOUR OWN FUNDRAISER FOR WHATEVER THE FUCK IT IS THAT YOU SOMEHOW THINK IS MORE IMPORTANT THAN A STATUE OF FUCKING ROBOCOP. DONT CURSE THE DARKNESS MOTHERFUCKER LIGHT A CANDLE

https://www.youtube.com/watch?v=7pOoSe2K5DU

what the hell fried chicken

yo im trying to eat

https://www.youtube.com/watch?v=Yw9GNz-EYP8

tune

top ten in the uk iirc

"Not now you can't get a cup of coffee."

"Oh, Sarge."

https://www.youtube.com/watch?v=McDjaLgrrRg

yo im about to eat

http://i.imgur.com/uk8Ks.gifhttp://i.imgur.com/Z9QFg.gif

http://img168.imageshack.us/img168/3780/robocop104.gif

was johnson gay for norton? there's the scene where he clutches norton for support during the ed209 fiasco and norton brushes him away. then the look on his face when robocop plays jones's confession: "I had to kill Bob Norton because he made a mistake"
then finally the look of satisfaction on seeing Norton's killer dispatched.

oh I forgot the "tastes like babyfood" scene but there the relationship seems paternal, or a big-brother. though the dynamic of johnson initiating and norton withdrawing remains.

has anyone ever read that martin amis essay on the filming of Robocop II?

-- smokemon (eman), Monday, April 10, 2006 3:14 AM

here:

ROBOCOP II

ROBOCOP: PRIME DIRECTIVES
1 Serve the Public Trust
2 Protect the Innocent
3 Uphold the Law

RoboCop II - and I mean the robot, not the movie - looks like a wasp-waisted three-ton Swiss Army penknife with all its blades outturned: cutters, skewers, pincers, gougers. Called 'The Monster' in the script and on the set, this sizzling cyborg is not RoboCop's successor but his adversary. 'The concept of two robots duking it out', says one of his creators, 'was a given.' Part Man, Part Machine, All Psychopath, RoboCop II is also, for good measure, a drug-addict, a vigorous abuser of a substance called Nuke. He is programmed to Break the Law, Protect the Guilty, and Trash the Public Trust. 'We're very pleased with him,' says his chief designer. 'The face is great. Those twin panels shoot back revealing a digitalised screen, with receding lines giving a weird to-infinity effect.' For now, the curved diagonal panels remain closed, impeccably hostile and severe, like the sharp prow — the leading edge — of the future.

Last fall, downtown Houston was also giving a good imitation of the henceforward. The main precincts are deserted after 6 pm - for this is a modern city, and no one is seriously expected to live in it. You work in it. Elegantly alienated youths rollerskate through the empty malls. They aren't sullen or simmering or smashed; they are just not interested. Later, the night sky will contain the faint reports of gunfire: the crack wars of the crack gangs. Driving through the more depressed areas the next day, you will find the streets littered with beercans, hookers ('Hey, white boy!'), undergarments, human wigs - and the nomadic poor, clustered in the steel and concrete crevices of the city; soon, the police will come and briskly pressure-hose them out of there, and they will be obliged to regroup somewhere else. But not downtown, where the future is contentedly going about its business. Look into the magenta glass of the looming skyscraper, and what do you see? The reflection of another skyscraper — and then another, and then another.
This month there is street theatre in Houston: the making of RoboCop II. Onlookers gather early behind the police lines. The crowd (mostly black) has come to see what the imported natives (mostly white) will get up to this evening, what explosions and firestorms they will stage, what miracles of wreckage they will achieve: what strafings, what stompings, what splatterings. The ahs and ows of this first preview audience are strictly calibrated to the size of the bang, the height of the flamespout. All week the night action takes place amid the fortress architecture of Houston's cultural centre: between the theatre and the opera house. The filmmakers are obliged by the city to get through their most thunderous scenes before 8 pm, when the curtain goes up on the other performance (tonight, a rock opera of Measure for Measure). But they never make it.
'HOLD THE SMOKE!' says the Assistant Director into his bullhorn. 'I'LL NEED SOME BEEF.' Beef means muscle, means sceneshifters - for the upended cars, the shattered stanchions. 'I SAID HOLD THE SMOKE,,, MORE BEEF!'
A mist of stardom shrouds the trailer of Peter Weller, who has yet to appear. Everyone waits. A rejuvenated, reglamorised Nancy Allen sits chatting on a director's chair (her handsome new boyfriend is near by, the silent custodian of her second blooming). Nancy plays Lewis, RoboCop's sidekick. It is a pivotal role, and she understands its centrality. She is the only 'real' presence in both movies: everyone else is either a hood, a corporation ogre, a scientist, or a robot. Nancy is happy to kill time; indeed, she is an expert time-killer, like all movie stars, for there is much time to kill. Everyone waits. Weapons expert Randy Moore trundles on to the set to deal with 'a blanks problem'. Randy's outrageous handguns and bazookas look at home in Houston: they wouldn't seem out of place, you feel, in the average Texan kitchen. At length, Randy resolves the blanks problem, and everyone goes back to what they were doing before: waiting.
Unbelievably, about five hours later, two whole shots are in the can. Nancy has scaled an armed-personnel carrier and successfully back-kicked a security guard in the face. And Peter has scaled a media truck and readied himself to pounce on The Monster. But the street audience is unconvinced, and gives a collective shrug before it disperses, as if to say, 'Is that it?' And you sympathise. You want to explain to the Houston crowd that what they are getting is, as yet, only half-formed, only half-made. As yet, the illusion is embarrassingly - but necessarily — incomplete. Peter hasn't got his RoboCop pants on, for instance (the shot is only waist-up). And Nancy's back-kick looks dainty and innocuous. And the battleground is littered with scene-coordinators with their walkie-talkies. And the corporation HQ seems punily small-scale. And The Monster is still in the prop shop . . .
This is the thing with RoboCop: it all comes later — the sheen, the finish. What you see here in Houston is just raw material, the chaos of the merely contemporary. Only in the lab will it take on the hard edge of the future. RoboCop is itself a sign of things to come; the new depth of illusion, the widening gulf between set and screen. On screen, the corporation HQ will have a matte painting on it and will loom eighty storeys high. The scene-coordinators will be blacked out of shot. The Monster will be on duty. Peter will appear to have his pants on. And Nancy's back-kick will be crunchy.

The RoboCop II team has a boy-genius or crazy-professor feel to it. On the set the atmosphere reminds you of the exotic unsalubriousness of Washington Square Park in New York, where all the skateboarders are chess prodigies, the bums are International Grand Masters, and the lounging brothers have four-figure IQs. Director Irvin Kershner (Never Say Never Again, The Empire Strikes Back) looks like a radical Sixties academic. Producer Jon Davison (Piranha, Airplane!, RoboCop) has the droll, wheedling delivery of a Greenwich Village intellectual. All around there is a reassuring sense of strength-in-depth. Unit publicists are usually cyborgs themselves, but RoboCop IPs Paul Sammon is an omnicompetent film-maker, writer, computer ace. And here's cold proof of how hip and classy this outfit is: nearly everyone had read my stuff. Even the continuity girl turns around and quotes me, word perfect . . . And shabbily lurking by the coke-machine and the chow-trailer are Oscar-winning designers, make-up artists, stop-motion animators, stunt illusionists — tricksters, wizards, futurists.
RoboCop made money (£50 million in the US alone), and everybody hopes that RoboCop II will do at least as well. But they are in it for love — obsessive love. Between rehearsals they crouch down among the cables, the webbing, the gizmo wagons and gadget trolleys and gimmick barrows, the cans of engine enamel, the bottles of Havoline. They talk about the film — 'the show' — with almost parental earnestness and cautious pride, as if they were preparing an enormous machine, or an enormous robot, for smooth functioning, fully tuned and 'tweaked'. Someone is going around with a box of Noisebuster earplugs. We help ourselves. One of the redetailed Ford Taurus turbocruisers is about to blow. 'Not the "beauty car" — the one nearest camera - but the oldest car,' Paul Sammon tells me. 'They might not get it done in time, but if they don't they'll want to do something else noisy.' The atrocious detonation comes and goes, and the team gets ready to do it all again.
'Wetdown,' says Irvin Kershner — Kersh — to his assistant. 'WETDOWN,' says his assistant. There ensues, of all things, a long delay, as every inch of the set is hosed with water. The set is regularly wetdowned to give it a glossy, slinky, noiry look — also to preserve continuity, in case it rains. 'BEEF . . . MORE BEEF.' On conies the beef: unsmiling figures who all seem to be called things like Tug and Tiff and Heft. The beef on RoboCop H, you feel, will be better beef than usual, real thinking man's beef, the most skilled and dedicated beef you can buy.
That night's shoot spluttered on until 4 am, but Jon Davison is at his desk early the next morning. Like all on-the-job moviemen he has an air of exalted exhaustion, of priestly fatigue. 'The whole thing was awful the first time around,' Davison croaks. 'Robo himself just didn't work visually. You know: his ass moved in a funny way, he looked smaller than the women. But now . . . it's all going along.' Nobody knows exactly how much the first movie's frisson owed to its director, Paul Verhoeven, and his 'neurotic elan', in the phrase of one team-member (here are some other phrases: 'He's a wildman.' 'A sick genius.' 'A real extremist.' 'Bananas.' 'Nuts'). 'Kersh', says Davison, with some concern, 'is, of course, much less violent than Paul .. .' Kersh is also sixty-seven; and at present he is too busy to sleep, let alone be interviewed. There is a feeling that Kersh will have to be kept an eye on. He may have a weakness for the light. Others, then (the deep talent), will have to make sure it's heavy.
The floors of the production offices are heaped with Fed Ex envelopes and copies of Variety, but the walls are papered with fanatically exact 'storyboards' of the scenes to come, frame by frame. The drawings remind you of RoboCop's imaginative origins: comic books. Comic books, given flesh, and metal - given hard life. 'What made you choose Peter Weller?' I asked. I wondered if it had anything to do with his mouth (his only visible feature for much of the film) and what my wife described as the 'unerotic perfection' of its cupid's-bow lips. 'His mouth? No! Peter was chosen because no other actor would do it.' Like all surprise successes, RoboCop was something of a lucky accident. It gathered the right people at the right place at the right time. Davison put them there. He is the puppet-master - or rather the master of the puppeteers: Verhoeven, Weller, the designers and animators, right the way down to all the unsung eggheads at Dream Quest, Praxis, Intervideo, Screaming Lizard and Visual Concept Engineering.

RoboCop was a genuine original. All its admirers know this, and even its detractors partly sense it. RoboCop was doubly futuristic. As a movie, and as a vision, it wasn't just state-of-the-art. It was also state-of-the-science: when you see its twirling rivets and burnished heat-exchangers, when you hear its venomous shunts and succulent fizzes, you suspect that the future really might feel like this — that it will act this way on your very nerve-ends. Technology is god in RoboCop, but it is also the villain, with its triumphant humourlessness, its puerile ingenuity, its dumb glamour. And that ambivalence explains why RoboCop's special effects had a special effect.
Also a special affect. To define: affect means 'feeling tone'; and affectlessness means 'no feeling tone' - no heart. And the heartlessness of our response to the RoboCop future is most noticeable, of course, when we confront the movie's extreme violence. American children laugh at Rambo because they don't yet know what violence means, because they shouldn't be watching Rambo (what, you wonder, will their children be laughing at?). The hoods in RoboCop — and in most American thrillers of the past twenty years — laugh as they kill and rape and devastate because this is the expression of their anti-ethics, their sociopathology. But we laugh at the violence in RoboCop, even though we really should know better. We laugh because we have no response to it. We laugh to fill the silence, to fill the vacuum, like embarrassed Japanese.
Take the celebrated and show-stealing scene in the corporation boardroom, when the grinning VP introduces the executives to his latest concept in 'urban pacification', Enforcement Droid 209. An android is supposedly 'a robot with human form', but there is nothing humanoid, or even organic-looking, about ED 209, whose otherness is in fact emphasised by its weird borrowings from the animal kingdom: the shape of the 'face' (killer whale), its warning growl (angry black leopard), its squeal of distress (dying pig). By way of demonstration, the VP asks a young executive to raise a gun at ED 209 'in a threatening manner'. The robot jerks into its attack mode, and says, in its warped baritone (the voice is actually Jon Davison's, slowed and distorted), Please put down your weapon. You have twenty seconds to comply. The executive complies, but the machine advances, citing the appropriate penal violation before announcing, with robotic probity, I am now authorised to use physical force.
There instantly follows a scene of startling butchery, partly cut by the censors, in which ED 209 applies physical force — with twin machine-guns. 'We always knew that sequence was going to be excessive,' Jon Davison has said. 'I sent somebody down to the local 7-11 to get the biggest ziplock baggies they had; and then we filled them with blood.' In the footage submitted to the MPAA, the executive's corpse received an additional 200 rounds. 'I thought it was funny and the preview audience thought it was funny. The censors didn't think it was funny. The result was that they took something that was basically funny and turned it into something horrifying.' Actually, the comic element survives. Where there is no affect, there is no horror. And we laugh because there's nothing else to do.
But our laughter isn't entirely wanton. I finally met up with ED 209, in one of the unit's prop shops. It looks smaller than it does on screen, and slightly bedraggled: one of its gun-arms was ripped off while it was making a PR appearance at a Los Angeles theatre. But it still inspires real menace and amusement, because of the integral brilliance of its design. This is ED's creator, Craig Davies:

I did include things that were my own digs at what I see as a really lame current corporate design policy. For instance, there are four huge hydraulic rams on the legs, even though a creature like ED wouldn't need nearly that many. So it's like complete redundancy - a true corporate product.

The violence of RoboCop isn't the 'poetic' violence of, say, Peckinpah. It is 'sweet' violence: violence as technological fix. When we laugh at ED 209, we laugh at corporate overkill, corporate literalism. Here is a death-dealer with a heart made by Yamaha: thoroughly sophisticated, thoroughly murderous, and thoroughly moronic. When we laugh at ED 209, we laugh at something that already exists in the present and eagerly awaits us in the future. The future won't just happen: it will be our creation, our machine.

The time had come to do the star interview — a nervous interlude. Peter Weller was chosen for RoboCop because he was the only actor who would do it. For the sequel, naturally, he is the only actor who would do. This is a period of what Hollywood calls 'dignity' for Peter. Already, the night before, Paul Sammon and I had tiptoed to the Star trailer. Covertly we watched Peter limbering up in his cycling shorts, his face already 'gone' in Robo's numb glaze. We tiptoed away again. For RoboCop, also, must come close to affectlessness incarnate. Not quite incarnate, because he is part machine. And not quite affectless, because he is still a man.
There are three distinct phases in the evolution of a movie star. Stage 1 represents the swirling, gaseous years of ambition, fever, hard work. In Stage 2 (the briefest stage: you might call it 'Denial'), the star solidifies and heats up, all the time pretending that nothing irreversible is happening to him. Stage 3 brings the nuclear burning of full deity; hereafter, no mortal can ever really look his way. Peter Weller is halfway through Stage 2, still struggling somehow to combine stardom with his original identity. It can't be done. Such laws are universal. The old Peter will be lost for ever in the cosmic fire. And then the star awaits its final destiny: white dwarf, red giant, black hole.
Wonderfully opaque and stylised on the screen as RoboCop, Peter Weller, in real life, is all affect: it's like being in a room, or a trailer, with about fifty different people. Simon Schama's new study of the French Revolution is cracked open on the table; so is Teach Yourself French; so is Teach Yourself Italian. He puts down his trumpet, looks up from the stack of inspirational videos (Ivan the Terrible) and shouts out of the window for more classical CDs. His feeling-tone is intense; but so is his muscle-tone. He hums with vigour. I would too, I suppose, if I got up at three and ran 16 miles every morning, which Peter does, before settling down to his two-hour make-up session. What with one thing and another, he's neglecting his yoga and karate and aido - or was it his ashinto, or akimbo? 'He's a maniac,' says Moni, Peter's mime coach, admiringly. 'Very systematic.'
'The patience factor on number one was nuts,' says Weller, in his hybrid style. 'It took ten hours just to get into the suit. Then five. Then four. Now it's one-and-a-half. Robo II is easier because we're over the hump of making this shit work. There's a Harvard professor who teaches RoboCop in a course on the Hellenistic hero. But I tell you, it's heroic just to be in that suit. The real preparation went much deeper. Moni and I worked our ass off, man.'
I believed it. There is nothing accidental about the strange beauty of RoboCop in motion; the effect is fully thought out, and fully achieved. Like many others on the team, Weller is more than a perfectionist. He is an absolutist. For him, it is a kind of liberation, and not a hindrance, to do all his acting with his neck. 'Did you have any doubts about doing the sequel?' I routinely asked. 'Now that you're a major - '
'Now that I'm a major shit, you mean?' He smiled brightly. 'No. I didn't worry about the dangers of all that career shit. I thought: Do I want to judge up all that jazz?'
'What's the key to the part? For you.'
'Aside from executing the physicality of the robot - I think of him as like a guy with amnesia. That's the only plane on which I address this character.'
Later, Weller arrives on the set in a caddycart; he stands there, holding the rail — a modern Steve Reeves, on a modern chariot. An entire truck-sized cooling unit is trained on him as his dressers do the final clip-on and polish. Additional helpers attend to his itches and aches and stiffnesses. He looks charged. He is the man. Like the creation he plays, though, Weller is only partly human now; to some extent, inevitably, he is product. The lost-self theme works so powerfully on us — perhaps we all feel it. Perhaps, as we speed into the future, we all feel that something has been left behind.

RoboCop II was being made by a kind of brotherhood - a brotherhood of know-how and can-do — and on the set there was an attempt at a kind of moose secrecy. One of Paul Sammon's duties was to thwart paparazzi ('They want shots of The Monster. Or Peter without his suit on'). Similar interdictions apply to the script, I'm not allowed to quote from it. But presumably I'm allowed to praise it.
The author is another boy-genius, Frank Miller, who wrote the cult comic book Batman: The Dark Knight Returns. He is perfectly placed to expand and deepen the RoboCop idea; he understands how 'this unique creation' vibrates with myth, everything from Frankenstein to Captain Marvel. RoboCop II will feature the same underlit corporate boardrooms, the 'mediated' reality of ads and newscasts, the same reflexive corruption and passionless violence. The script also offers us a more pained and plangent hero, and two resonant new villains: a murderous twelve-year-old drug baron, and RoboCop II itself - the heir, not of RoboCop, but of ED 209, the latest concept in machine literalism, machine justice. Frank Miller has seen the future. And it sucks.
On the last night I patrolled the set with Paul Sammon. We quizzed and banished a lady 'onlooker' with a four-foot lens on her camera. The street audience had already gathered for the night's viewing ('They're going to blow that one'). All around, monitoring the set, was the city's superstructure and its real personnel: real firemen, real cops.
And beyond them, meanwhile, on the higher ramps, the young rollerskaters loop and glide, remote and self-possessed. Ironically, these incurious youths are themselves much talked about and widely celebrated; magazine articles have been written about them. They exude calm and indifference and silent esprit de corps: immaculately affectless. They are the audience of the future. They will watch the RoboCop double bill with no response at all — without a tremor, without a smile, without a flinch of recognition.

Premiere, 1990

the whole book is here: http://www.e-reading.org.ua/bookreader.php/1002554/Amis_Martin_-_Visiting_Mrs_Nabokov_and_Other_Excursions.html

Wonderfully opaque and stylised on the screen as RoboCop, Peter Weller, in real life, is all affect: it's like being in a room, or a trailer, with about fifty different people. Simon Schama's new study of the French Revolution is cracked open on the table; so is Teach Yourself French; so is Teach Yourself Italian. He puts down his trumpet, looks up from the stack of inspirational videos (Ivan the Terrible) and shouts out of the window for more classical CDs.

lol

can you fly bobby?

NO CLARENCE NO

I watched this yesterday, for the first time in years. I was probably in the single digits the last time I saw it the whole way through, as were pretty much everyone else in the room that saw it. It was a whole lot more shocking now seeing this, thinking, man, if I had a kid, would I let them watch this? My parents were awesome.

This movie, likewise, is awesome. I loved the structure of it, with the cheesy commercials, gorgeous cinematography, super-cartoonish violence, etc. I'm usually really squeamish about violence in movies, but this one was so OTT that somehow it was ok to watch. Maybe I've been desensitized from watching it when I was 9.

Again, I really liked the cinematography, especially the video effects. The sequence where Robocop is being made, and it's all first-person with a TV filter, is really cool. The part where Robocop is visiting a school is some _brilliant_ satire, the kids holding his hand, his only advice a cold, metallic "Stay out of trouble".

The movie's energy is effing addictive, and I love love love how OTT the badguys are. At one point they are trying out rocket launchers and just start blowing up each other's luxury cars, laughing maniacally. While this is going on two of them take a break and just start doing coke. Every Batman movie villain owes this film through the nose.

The 80's energy in this is intoxicating. For some reason I just really love the look of 80s office buildings, the clean and sanitized textures, that purple-grey-blue color scheme, the early computer graphics wall art. All of it being blown to pieces. Also that scheme where the bad guy is thrown through like 6 glass windows, one at a time.

Also, the guy who gets turned into a mutant, if this were made 5 years later, woulda been played by Flea.

Do I remember correctly that the woman whose rapist gets shot by Robocob through her dress gets a little turned on by the action?

*RobocoP*

Because that's a little fucked up.

It was a whole lot more shocking now seeing this, thinking, man, if I had a kid, would I let them watch this? My parents were awesome.

It's on the list of movies that I've told my son I'd watch with him now that he's 8.

That part is so awesome, he shoots that guy's nuts off right through her dress. Yeah it's a little fucked up. So is 1000% of this movie.

Also fucked up is at the presentation near the beginning when the ED-209 malfunctions and the dude is running for his life. He knows the robot is about to kill him and he runs over to where everyone else is hiding and tries to use them all as a shield or something. And then they throw him away so the robot gets a clean shot.

That was the scene that really fucked up my head, watching that dude dart around knowing the guns are trained on him and only him.

when I say something's fucked up in robocop, yeah, I mean it in a fucked-up-in-robocop kinda way.

saw this for the first time ever a few weeks ago, don't know why I wasted so many years

"Do I remember correctly that the woman whose rapist gets shot by Robocob through her dress gets a little turned on by the action?"

she runs over and gives robocop a hug, but she doesn't start dry-humping him (I don't think!)

this movie is great! i wouldn't go so far as to say it was a george lucas situation, but when compared to starship troopers, you can see how the circumstantial limits placed on a director often makes for a better movie. there's a lot of stories in the commentary track where they were gonna do something that would have totally ruined the movie, but they couldn't because of budget/time reasons.

Not so much dry humping as maybe smoothing out her dress and going "Ooooh, ROBOCOP!"

i do remember her looking down at her blood-splattered dress and seeing an expression like, 'i'm thankful and all this cyborg shot my rapist's balls off but i really liked this dress, too, it was $15 at ross.'

Maybe the "Ooooh, ROBOCOP!" came from me.

Yeah, the only expression i remember was he stepping back after realizing he's not a human.

murphy... its me...

*you

interesting gun porn trivia, this movie had that big sniper rifle (done up as the "cobra assault cannon") before the US army did

my post on it from action movie poll:

robocop - what a fuckin movie. so much can be said about why it owns, but i think one underrated aspect is ronnie cox's performance as dick jones. he has so much fun with that part.

someone earlier in the thread was shittalking the production design on robocop, which is just so wrong! the production work on robocop is really intelligent and awesome. first of all, brutalist architecture in a sci-fi setting = always good. the ed209 is a great example of the thought they put into things - its deliberately absurd, evoking something built by corporate committee and made to look intimidating at the expense of practicality, with redundant hydraulics, feet that can't fit on stairs, a body modeled after the huey chopper. this is underlined the first time we meet the ed and it literally growls like a lion. and what could be more haunting than robocop without his helmet, peter weller's face lost in all that machinery - what an amazing image! weller's got some great line readings in this movie, especially "they fix everything"

also, killer ending:

https://www.youtube.com/watch?v=qEknoNtHSMs

― RudolfHitlerFtw (Hungry4Ass), Tuesday, February 21, 2012 12:15 PM (1 month ago) Bookmark

i just rewatched it last year myself - its as impressive as ever. i was surprised by the pathos of scenes like shooting jars of baby food, or weller's linereading of 'they fix everything'

also great usage of ford tauruses. that was really striking to me even when i was a child, because i was so used to 80s movies where everyone drove blocky sedans, i didnt even know they had cars that looked like the taurus back then

they were going to make some crappy bad syd mead knockoff "future" cars but had no money, so went with the tauruses instead, which police cars of today better resemble. they were also going to make some cheesy holo-cube storage media for the dick jones "nyeah nyeah" message to bob norton, but also ran out of money, and used a CD instead, which blu-rays of today better resemble. sometimes cheaper is better!

as Ford learned when they tried to retire the name, there must always be a Ford Taurus anywya

Yeah with that CD message i was like, holy shit, they predicted DVDs!

also leeza gibbons!
iphone with gps tracking! (if you look closely at clarence's robocop-finder, it's just a single blinking bulb affixed to a piece of prop-plastic)

Also some scenes it really looks like they took Robocop's helmet and just spray painted parts of it blue and purple.

um....just like we do in the future

they were going to make some crappy bad syd mead knockoff "future" cars but had no money, so went with the tauruses instead, which police cars of today better resemble.

I re-watched very recently and kept thinking, "man, these are the PERFECT cars for this movie."

you know who did have a crush on robocop was not lady bloodyskirt, but the tech who was all proud about saving his arm, then norton goes, lose the arm and she's really torn up about it, and later she gets drunk on new year's and plants a messy one on robo's visor.

Oh yeah! Robocop scoring with geek babe.

Also, Tauruses were actually cop cars, at least in my neck of the woods, during the 90s.

I probably mentioned the tweet upthread, but someone recently saying "Who knew Robocop's vision of the New Detroit would actually be rosier than what it actually turned out to be?"

the all black paint job rules (x-post)

best commercial:

http://robocoparchive.com/info/car8.JPG

even mr. snrub has an otm post in this thread.

i am watching this now tbh.

i want a copy of the criterion version buried with me.

I don't think there's been a more perpetually strong and obvious 'y' in the history of 'y/n' questions.

The best

Only dumber question asked on this board is the Al Green C or D? thread.

BITCHES LEAVE

i just woke up, should i watch robocop y/n

y

I just fell asleep, should i watch robocop y/n

https://www.youtube.com/watch?v=du1OUuJDKPo

https://www.youtube.com/watch?v=2tUag07bW8w

robocop!!!

robocopu

"Green Calx" contains samples from RoboCop: the dinosaur's popping eyes during the 6000 SUX TV ad, the ED-209 robot trying to go downstairs without success, and the sound of RoboCop browsing faces of criminals in the police archives computer.

:'C
http://vignette3.wikia.nocookie.net/robocop/images/9/93/Morton.jpg/revision/latest?cb=20100912030019

RIP bitches

;_;

nooooo

https://33.media.tumblr.com/06901ffca42af066775cbe732492dfae/tumblr_mpe7n2tWZt1qi66kho1_500.gif

http://i21.photobucket.com/albums/b300/spacemonkey_fg/Blog%20Pictures%20III/Blog%20Pictures%20III042/Robocop28_zpsd6d60a8a.jpg

*sad sigh*

http://38.media.tumblr.com/ac16e8e0811f6e567f6d4978facc6542/tumblr_n0gripPQTv1qg4blro1_500.gif

https://www.youtube.com/watch?v=aqx7KKo6tZs

https://www.youtube.com/watch?v=4jfDvMOqovY

the answer to this question is always, always yes btw

I know someone who quit watching over "Lee Iacocca Elementary School"

https://www.youtube.com/watch?v=QqQEXp5dPrg

remake is on TV tonight. There's a film I am never ever going to see

there’s actually a lot of interesting ideas in the remake

unfortunately none of them are intelligently explored

best ‘wtf are they thinking’ scene in the remake is when gary oldman, as the scientist who created robocop, decides to help the newly-robotic officer murphy deal with the horrific trauma of being blown up and encased in a shiny metal murder-carapace by, er, placing him in front of a mirror, opening up his chest cavity and showing him the only organic part of his new body - a nightmarish pair of vivid red pumping lungs

i am not a therapist but this seems... ill-advised

lol still not watching it

fair

I watched the remake and thought it was totally decent but now I can't remember a damn thing about it except Michael Keaton and also the fact that its primary street antagonist was the anti-Clarence Boddicker in the worst possible sense. It's a flick made for brief goodwill store excitement and then a disgusted return to the shelf two seconds later.

the coolest part of the remake for me was seeing scenes shot in this place, which I visited before watching the movie: https://en.wikipedia.org/wiki/Hearn_Generating_Station

obviously I was turning my head constantly to look for drones firing at me

Can you fly, Bobby?

brb forming a punk band called Directive 4

watched this yesterday. still so good. love Ray Wise's face as Robocop drags him out of the industrial club.

https://www.youtube.com/watch?v=cTgvExvAk2c

https://78.media.tumblr.com/2adcdda3152be3e587c92ffaf43b0c88/tumblr_p8hhizopz71ug2uiho1_1280.jpg

"all police officers admitted free this weekend at village cinemas upon presentation of i.d." lmao

https://i.imgur.com/KxMNIHA.jpg

I do!

RIP bitches

― AdamVania (Adam Bruneau), Thursday, January 19, 2017 5:29 PM bookmarkflaglink

wtf THEY didn't die!

a bad mother-crusher

https://ww.youtube.com/watch?v=H-y1PAUtv3k

Let's try that again

https://www.youtube.com/watch?v=H-y1PAUtv3k

crumbag? since when is scumbag profanity?

I'm not a cyborg i just crush a lot

man i had a moment there before i realised it was a photo of a photo of weller up above

roboflash

Ok, which one of you created Is it Better Than Robocop?

Rankings: http://m.imdb.com/list/ls022002973/