One of my favourite talking points as a film fan is re-makes. I love and hate them in equal measure. Expectancy, hope and depression strike all at once when I read an article on the latest Hollywood re-boot of a much beloved classic. Fortunately sometimes they’re brilliant and bring plenty of new ideas to a franchise but more often than not they lack the spirit and passion of the original or even the cheese that made it so inviting and popular. But how do we combat such a large industry, and one in which people like myself still pay good money to see these films in the hope they don’t ruin our favourites? Well, with the latest Hollywood re-boot RoboCop a group of filmmakers has found a unique way to tackle Hollywood’s growing industry.

A scene for scene retelling of Paul Verhoeven’s classic RoboCop, Our RoboCop Remake is a crowd sourced film project produced and led by David Segar. Filmed by and starring a group of fifty filmmakers from across New York and Los Angeles it is a collection individual pieces retelling each scene in a variety of different styles, themes and let’s face it differing levels of acting talent.

This unique approach to film-making and Hollywood re-boots has produced an incredibly interesting film and a definite watch for true fans of RoboCop and film-makers alike. Unfortunately whilst the project is interesting and the 8-bit 80’s opening music sent tingles down my spine the rest of the film just couldn’t match up. There are some amusing moments, and a few laughs as well as some exciting ideas and concepts but it’s just far too long. In a style akin to [adult swim] this would have worked in a short half an hour sitting, but as a full-feature it’s stretched and it wasn’t long till I wanted it to finish, or at least get to the meaty bits. The use of multiple filmmakers had led to a large repetition in jokes and how much co-ordination was involved and how much this repetition was intended I’m not sure; but with more fart jokes than Terrance and Philip I fear that only the biggest fans of toilet humour can possibly survive the near two hour parade of crass humour.

I salute this film for its concept innovation and for ‘sticking it to the man’ in the way only a group of filmmakers can. Its strength of community has given a huge outlet for small filmmakers and film lovers alike. I would recommend anyone to give it a try. For me, it didn’t work as a film, but this is a hugely individual piece and was never meant to compete as a commercial enterprise. It is an amusing dig at an industry’s inability to innovate and current obsession with re-booting or ‘ruining’ classics and something film-lovers everywhere should support.

Find the film here at www.ourrobocopremake.com

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