Imagine a world of complete, 24 hour surveillance where software can recognise your face automatically, a world where robots fight wars on our behalf and mega-corporations own the news and have sway over politics. Now open your eyes, as this is the world you live in – and this is the reason RoboCop has returned to our screens.
But before we go any further, and in the immortal words of Yoda, you must unlearn what you have learned. Forget the 1987 icon. Forget the night you crept downstairs whilst your parents were asleep, popped the VHS on and let Verhoeven’s ultra-violent satire blow your tiny little mind into more pieces than Murphy’s 12-gauge-amputee limbs.
The film follows Alex Murphy, a Detroit cop doing the right thing in a corrupt and broken city whilst keeping as normal a life as possible with his family at home. But when he starts on the trail of an organised crime boss, he gets in over his head and is all but killed in front of his wife and kid. In steps Omnicorp, a robotics company on a quest of market domination who turn Murphy into RoboCop, more machine now than man, but not twisted nor evil. However, once Omnicorp’s made use of Murphy and he no longer fits into their “product family”, things take a a darker turn and Murphy must once again, struggle to do the right thing.
The story is not far from the original, and as in its inspiration is simple yet effective. The cast are mixed; Kinnaman as Murphy is flat and Keaton as Omnicorp CEO Sellars lacks needed charisma and direction, but Oldman’s Dr Norton gives a great conflicted persona. The structure is strong in setting the scene effectively in the first two acts, investing more time in Murphy as a character and the development of RoboCop than the original, but towards the last act it starts to unravel as the weak story splits at the seams.
But all is not lost. This film was never about Oscar performances or original stories. RoboCop (the original and the new) is all about satire. It is an observation and judgement upon the dark road we are letting ourselves walk down, lead blindly by government and corporation under the guise of “we don’t know what we want until we are shown it.” Jackson’s Novak plays ultimate parody to his Fox News inspiration and through his frequent, yet essential, exposition holds the film together and keeps it on track. This, coupled with lightening-fast action sequences choreographed with exquisite violence make this a film I’m sure, if you keep an open mind, you’ll enjoy.
RoboCop is in cinemas across the UK from tomorrow.
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