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HOME > QUIPSOGRAPHY > ROBOCOP (2014) > PAGE 2 Joel Kinnaman is phenomenal. As Murphy, but more-so in his exceptionally realized, full-body performance through the course of RoboCop's various stages. You see him trying to adapt and define himself as this cyborg of conscience, despite him being controlled by an ulterior agenda of malevolent corporate greed. Top marks also go to Oldman and Keaton, for individually portraying their diametrically opposing and mindfully complicated characters so completely here. Oldman's Norton is the embodiment of benevolent science, squeezed by the harsh realities of securing research funds. On the flipside, Keaton's Sellars is a smugly serpentine, morally-devoid profiteer who only cares about public opinion within the context of manipulating it to his financial benefit. If it sounds like I'm talking about the types of high level performances normally enjoyed in a dramatic film, you'd be right. Nolan and Goyer's Batman Begins (2005) continues to influence nicely. Sure, this flick serves up its fair share of mindlessly exciting gunplay and pyrotechnics set to a trippy beat, but this RoboCop remake jettisons a lot of its schlocky predecessor's gore-drenched ham and cheese. As for diehard fans of the original, modified references to the 1987 film do materialize throughout: Kinnaman's robotic body mirrors that of Weller's original, before going commando, uh, before being updated to stripped-down "tactical" black. The movie's underlying acerbic commentary - then, against blind consumerism; now, against blind nationalism - is notably abundant. Zetumer's script even goes so far as to slightly rewrite the famously sleazy RoboCop movie line, "I'd buy that for a dollar!" However, no-matter how much comparison is paid to both movies, this one is by far a better big screen effort. Its primary character's development is emotionally and psychologically superior, specifically when Murphy overrides his RoboCop programming. This feature's at-times macabre satirical mockery is also more deliberate and intellectually sharper. That aspect is best demonstrated in this film's series of media-style cut-ins starring Samuel L. Jackson's hilariously hard core right-wing Novak, spinning sunny Orwellian doublethink while interpreting video feeds that, for instance, show Middle Eastern civilians treated like chattel in their homeland by occupying robot troops for their own good. Far more character-driven and obviously thinkier than the original, RoboCop isn't the high octane adventure the trailers and ads are hyping to get sci-fi action fans into the movie theatres. However, it's absolutely well worth checking out for the phenomenal performances and cleverly crafted storytelling that give the cyborg movie sub-genre a desperately needed fresh restart. Good stuff. Reviewed 02/14, © Stephen Bourne, moviequips.ca Click here for the moviequips RoboCop pressbook review at Hubpages. RoboCop is rated PG by the Ontario
Film Review Board, citing use of expletives, illustrated or verbal
references to drugs, alcohol or tobacco, scenes that may cause
a child brief anxiety, or fear, embracing and kissing, mild sexual
innuendo, and restrained portrayals of non-graphic violence,
and is rated G by la Régie du Cinéma in Québec. REFERENCE: |
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