I Wanna Hold Your Hand.

Review #2229: I Wanna Hold Your Hand.

Cast: 

Nancy Allen (Pam Mitchell), Bobby Di Cicco (Tony Smerko), Marc McClure (Larry Dubois), Susan Kendall Newman (Janis Goldman), Theresa Saldana (Grace Corrigan), Wendie Jo Sperber (Rosie Petrofsky), Eddie Deezen (Richard "Ringo" Klaus), Christian Juttner (Peter Plimpton), Will Jordan (Ed Sullivan), Read Morgan (Peter's Father), Claude Earl Jones (Al), and James Houghton (Eddie) Directed by Robert Zemeckis (#317 - The Polar Express, #352 - Who Framed Roger Rabbit, #581 - Forrest Gump, #648 - Beowulf, #701 - Back to the Future, #747 - Back to the Future Part II, #748 - Back to the Future Part III, #1527 - Cast Away)

Review: 

Sure, there have been a few Beatles-related films here and there. But this is one that its creators often referred to as "a cross between American Graffiti and Ben-Hur" that somehow makes sense (for the latter film, one never sees a certain face...). Robert Zemeckis spent a decade studying and working prior to this film. Robert Zemeckis spent a decade studying and working prior to this film. This included meeting Bob Gale at USC Film School that shared his interest in making "Hollywood movies". Zemeckis directed a short film called "A Field of Honor" that saw him awarded a Student Academy Award in 1975 that attracted the attention of Steven Spielberg because, well, Zemeckis barged into Spielberg's office one day to show it to him. This got Spielberg to be a mentor to Zemeckis that would see him tabbed to direct his first feature film at Universal Pictures, which was this film. Apparently, the original idea was basically the question of if one could make a movie just about waiting in line that eventually spiraled from there. 1978 was an interesting idea for Beatles-adjacent films, with this (loosely sharing the title of The Beatles song "I Want"-oh you already know) being the middle of a group that included the TV mockumentary All You Need Is Cash and Sgt. Pepper's Lonely Hearts Club Band (the jukebox musical with plenty of Beatles songs...as mostly covered by Peter Frampton and the Bee Gees). The resulting film (as written by Zemeckis and Gale as their first filmed screenplay) was not a hit despite warm reviews (preview and beyond) but Zemeckis and Gale kept busy, with the two's script for 1941 being filmed (by Spielberg) and released in 1979 before Zemeckis directed his next film with Used Cars (1980).

It is a pretty madcap film (98 minutes) about the nature of a moment crystalized in time, specifically February of 1964. It is a warmhearted film about people who just get swept up in the mayhem of Beatlemania for a film that lives it to the fullest in a way that manages to ride on charm without needing to show a Beatle up close (which goes with a main group where 28-year-old Allen was the most experienced on film). It is a neatly constructed ensemble film that doesn't have (or really need) an all-encompassing narrative to just roll with people that all manage to evoke a certain time and type (which even features Murray the K, who really referred to himself as a "fifth Beatle") that one can resonate with amid all of the nostalgia that doesn't cloy for a return of the old days but instead just rides the wave of hysteria. One does not wince at seeing the hysteria that arises from these folks, such as saying "Well, his wife could die" when presented with the fact that one of the Beatles being married or just the fact that people could go gaga for something that just happened be in the stomping ground of a Beatle. There is a key balance among the four leading stories that shows a guiding touch of humor within self-realization (small or not), starting with Allen, who has such worthwhile timing when it comes to finding that nerves really do wash away when faced with let's just say is euphoria with a guitar (as opposed to just being a reluctant pal-to-be-wife). Sperber is probably the one that draws the most amusement, because she is paired a good chunk of the time with Deezen and his particular type of energy (perhaps not surprisingly, he has called himself the "world's biggest" Beatles fan) as devotes fans that really makes one consider just how wrapped up a "fan" can be. The rest of the cast does pretty well in drawing amusement in the exhibition of teenage impulse (you know the usual, such as pushing folk music, wannabee saboteur, or wavering fixations), which probably works best with the sequence involving Newman, Di Cicco and Juttner that sees them abscond with tickets with some silly movements and lines that they sell just as well as any other time in the film. The Sullivan sequence involving shots that cut from seeing the group (amid a crowd of other fans) and then, well, parts of that Beatles performance (with stand-ins obviously that were coordinated by a Beatles superfan when it came to movements) is the cherry on top of a worthwhile journey with a pride for the time it aims to capture without stuttering at any real moment. Sure, it is a familiar film in its comedy, but it is a comforting type of film that shows talent among its young cast and crew in terms of execution and overall charm.

Overall, I give it 8 out of 10 stars.

Carrie (1976).

Review #1230: Carrie.

Cast: 
Sissy Spacek (Carrie White), Piper Laurie (Margaret White), Amy Irving (Sue Snell), William Katt (Tommy Ross), Betty Buckley (Miss Collins), Nancy Allen (Chris Hargensen), John Travolta (Billy Nolan), P. J. Soles (Norma Watson), Sydney Lassick (Mr. Fromm), Stefan Gierasch (Principal Morton), Priscilla Pointer (Eleanor Snell), and Edie McClurg (Helen Shyres) Directed by Brian De Palma (#801 - Mission: Impossible)

Review: 
When it comes to making films from novels, Stephen King books sure do make for interesting material to cull from. Prior to the publication of his first novel, he had been a English teacher at Hampden Academy in Maine; he had contributed and written numerous short stories for years while trying to work on ideas for novels. Early in the writing process for the novel that would become Carrie, King threw out the first few pages of the work he had typed out (involving the shower scene), which his wife Tabitha saved. She encouraged him to finish the story, As he later described after the book's success: "I persisted because I was dry and had no better ideas… my considered opinion was that I had written the world's all-time loser." As it turned out, Carrie (released in 1974) became a hit, with King soon selling off the film rights to the book (for $2,500) - director Brian De Palma, a reader of the book soon got interested in doing the film, with Lawrence D. Cohen being brought in as screenwriter. The budget for the film would prove to be $1.8 million, which was pretty small compared to other horror films of its time, but in any case the film managed to turn out pretty well for itself, raking in over $30 million upon release. It isn't hard to see why its success inspired others to try and make further adaptations, including a 1988 Broadway musical, a 1999 sequel, and remakes in 2002 and 2013. The film itself is a fine piece of horror entertainment, being fairly engaging with terror and tension that manages to endure well after its release four decades ago. It works best with key moments such as its opening or its prom climax, where its tragic elements play well within a high school setting like this, and a fairly game cast makes that click in most of the right places. It does fine with a pace of 98 minutes, building its reversion of the Cinderella tale to life with a few good direction and camera tricks from De Palma and cinematographer Mario Tosi.

Spacek plays the role with vulnerability and angst that slowly morphs itself into some readiness to make for a rounded out performance fitting for a film like this. Laurie chews a bit of scenery with a brimstone touch, but it all feels worth it in part because she doesn't lose your attention whenever she shows up on screen. Irving and Katt turn out okay for their parts, both having a bit of plain charm to them. Buckley plays her part (named Desjardin in the novel) just fine, probably being the easiest person to follow along with besides Carrie at times. Allen, Travolta, and Soles (all in the early parts of their respective film careers), make for a capable group of bullies, the kind of people that could fit right in with the right crowds for the time without having to reveal themselves too much. In any case, it is the prom sequence where the film gets itself into final gear, where it builds up the tension for its memorable moment slowly but surely until it hits like a bucket of blood. The split-screen usage here is a bit interesting here for its time, at least, and the lighting sure can make for a tense watch. It lets loose with terror for a good bit and makes a fine climax upon return back home. There is a scene after that (different from the novel), but it's probably best to let a first-time viewer watch the whole thing without getting too spoiled - but it sure makes for a good punch to leave the viewers home with a bit of a chill. On the whole, this is a well-done tragic horror film that pulls some punches close to home with a good reflexive sense behind it and some memorable terror to along with it to make this a fine film to recommend for the horror circuit.

Overall, I give it 8 out of 10 stars.

Poltergeist III.

Review #1199: Poltergeist III.

Cast:
Tom Skerritt (Bruce Gardner), Nancy Allen (Pat Gardner), Heather O'Rourke (Carol Anne Freeling), Zelda Rubinstein (Tangina Barrons), Lara Flynn Boyle (Donna Gardner), Richard Fire (Dr. Seaton), Nathan Davis (Reverend Henry Kane), and Kipley Wentz (Scott) Directed by Gary Sherman.

Review:
Was there really a big desire to make another Poltergeist film? The previous films were successes with audiences (with the first making ten times its budget and the second making double), so why not make a cheap sequel - complete with O'Rourke and Rubinstein being the only ones returning, with a reduced budget of $9.5 million, roughly less than half of the sequel's budget. Sherman (who directed and co-wrote the film with Brian Taggert) thought that the setting of the film being a building was a scary one, stating that "there are people on the other side of the wall, and no one cares that you are in trouble". Perhaps that could have proven true, but the final result is a movie that proves to be just another disappointing Poltergeist sequel. The film sure tries to make sure you won't forget who Carol Anne is, since characters in the film keep saying her name. I lost count after about the tenth time Kane (or someone else) said it, and it sure seems more like something to ridicule than be terrified of.

I do appreciate the in-camera effects, which were done live on the stage, with some highlights including a corpse being clawed out of at one point, and some of the mirror effects are a bit spooky. They can't save a movie that seems to meander in cheese. Nobody in the film does a terrible job, but they can't really give this film any sense of suspense or sell this as something worth using much effort over. Skerritt and Allen are okay at least, although the tonal shift for Allen's character near the climax feels abrupt and tacked on in order to deliver tension. O'Rourke does a fine job with her role once again, just as captivating and watchable as before in her final film. Rubenstein is just as offbeat as ever with giving exposition and occasional amusement, such as when she interrupts her session of tea and drops everything to fly on a plane after sensing danger for Carol Anne. Boyle and Wentz are okay, but their characters don't really have much to do other than just play the teenagers in a horror film (with the latter being forgotten about when it came to the ending). The angle involving the family and O'Rourke doesn't really hit as well when compared to the family angle from the previous two films. Fire is pretty annoying, but it is a bit hard to really make a skeptic in a horror film (particularly a sequel) seem anything other than just one to make for conflict, and he isn't really too interesting to follow with in any case. Davis (or more specifically, Corey Burton in a recording booth smoking a bunch of cigarettes to get that proper raspy voice) doesn't make for much of a villainous presence, perhaps in part because it is strange to even see Kane again in the first place. They might as well had just made up a new villain anyway, since his return is just as strange, seeing as Carol Anne was doing a bunch of hypnosis sessions while attending some sort of school for the gifted - complete with a skeptic doctor who believes it is all a product of mass hypnosis (which is pretty stupefying, actually). I guess getting stabbed with a spear just isn't enough closure. In any case, the film just doesn't have a real big scare up its sleeve besides occasional tricks for its 98 minute run-time.

The ending of the film is a letdown, particularly with its stinger that actually tries to sequel-bait. The film had its ending changed in post-production, which was actually more optimistic than what eventually made it onto the screen. Both endings keep the sacrifice made by Tangina, but while the original ending simply had the family return to the real world, the revised ending includes the John Hancock Center having two lightning bolts strike it (the only visual effect added in post-production) while Kane's laughter is heard; Metro-Goldwyn-Mayer wanted to punch-up the ending, which I suppose they valued more than a real ending. It should be noted that the re-shoot (done months after production ended) occurred without O'Rourke, who tragically died on February 1, 1988 from misdiagnosed intestinal stenosis. Four months later, the film was released, with the movie not being as successful with audiences - in part due to reduced marketing by MGM, who wanted to avoid being thought as exploitative, to the point where Skerritt and Allen did not do interviews for the film, lest they get asked questions about O'Rourke. In any case, the film is just not that scary, feeling just as pale of an imitation as the original, with only occasional bits of interest sprinkled in. If you were into the sequel and want to see a further supernatural tale involving some of the characters from before, this may work for you. Anybody looking for a quality follow-up to just the original or one wanting a proper close to the series will probably be disappointed.

Overall, I give it 5 out of 10 stars.

Redux: RoboCop 3.

Redux Review #006: RoboCop 3.

Cast
Robert John Burke (RoboCop / Alex J. Murphy), Nancy Allen (Anne Lewis), Remy Ryan (Nikko Halloran), Rip Torn (OCP President), John Castle (Commander Paul McDaggett), Jill Hennessy (Dr. Marie Lazarus), Mako (Kanemitsu), C. C. H. Pounder (Bertha), Felton Perry (OCP Vice President Donald Johnson), Robert DoQui (Sgt. Warren Reed), Bruce Locke (Otomo), Bradley Whitford (Jeffrey Fleck), and Mario Machado (Casey Wong) Directed by Fred Dekker.

Review
Welcome to a Redux Review of the original RoboCop 3 film, which is a revised review meant to say more about the movie as a whole. The rating will stay the same, but I feel that this Redux is necessary (which I could say for a good deal the original batch of reviews). Not to worry, there will be new reviews on the way, but I feel that the upcoming Redux Reviews are necessary to help better the evolution of Movie Night, and to help alleviate the unintentional month long hiatus. Enjoy. 

Yes, RoboCop 3. If you've seen the other two Redux Reviews, I went into a good amount of words to express a variety of opinions for a movie that was really good...and the one that was a disappointment. With this, it's not hard to say why this movie isn't good, or even passable, though the younger me kinda thought it was okay (still, I gave it a 5, but even a mediocre movie can be enjoyable at times). With the third movie, the expectations are extremely low, and the fact that the movie was actually shelved (according to the 1992 copyright) due to the bankruptcy of Orion Pictures. In fact, the movie was filmed in buildings slated to be torn down for the 1996 Olympics (if there's an irony, I hope you find it) in Atlanta. Peter Weller did not want any part of this movie (deciding to do Naked Lunch and not have to deal with the bulky suit once again), and Nancy Allen did the movie only on the condition that she would be killed off (and probably some money too, but hey, I can't imagine why). There is also no more Dan O'Herlihy as the head of OCP, instead being replaced by Rip Torn. The makers decided to make the movie PG-13 oriented (because of the belief that kids were part of the fanbase - which I believe in the sense that kids watched because of their parents) instead of R, which meant lowering the amount of violence (in a sense). Once again, Frank Miller returned to write the story and screenplay (along with Dekker), but it doesn't matter all too much. Despite all of this...I can't say I hate this movie.

Don't get me wrong, it is a movie dead on arrival, with no chance at being anything but a lackluster movie made to try and make money (and failing)...but still. This is a movie where RoboCop not only fights robot ninjas, but also flies in a jet pack for the climax of the movie. I can't even be angry at the nondescript villain (easily the worst villain in the trilogy), because this is a movie that has nothing going for it. Burke is not exactly miscast as RoboCop, but after two movies with Peter Weller that were probably one of the best aspects for both movies, Burke comes off as less memorable and more robotic sounding. and he doesn't have much time to develop any chemistry with any of the characters. Rip Torn doesn't get much to do, but he is at least amusing in a thankless role. C. C. H. Pounder is mildly enjoyable, and Felton Perry does a reasonable (if not brief) performance once again. Of all the actors that had been in the other movies, Robert DoQui is my favorite, and I guess its probably because he just seems more at ease with being in these movies, whether good or bad. Mako is indeed in the movie...for maybe 5-10 minutes. Seriously, he says a few lines about how he will send his robot ninja (Otomo) to deal with the Resistance problem, and he bows to RoboCop at the end of the movie. I had forgotten about Remy Ryan and her computer whiz kid character...at the age of 8. Clearly, it was a preparation for Anakin Skywalker in The Phantom Menace, and I can't figure out which is worse. Naturally there's a character named Lazarus, because either a 9th grader thought of the name after learning it in English class, or because it sounded cool (you decide). Hennessey is okay, but no good (or great) performance can save a movie that looks destined for TV-movie status.

And yet, I can't help but laugh at the ridiculous aspects. For example, the jet pack scene. There had been foreshadowing (or outright hints) of it throughout the movie, and though it is first used as a way for RoboCop to charge himself (not as a phone, mind you), you just know it is coming. When it does happen (in the midst of a battle between OCP and the Resistance/cops), RoboCop takes his sweet time in getting to the crux of the fight (which already had punk mercenaries and a granny packing an Uzi)...and he promptly fires a rocket into an OCP tank that blows it up (and fires a few shots at some mercenaries), which apparently wins the battle. But my particular favorite is his confrontation with not one, but two ninja robots (because one's not enough, and I guess Kanemitsu sent 3 robots and not one as it implied)...and the kid programmer and Lazerus program two robots with swords to chop each other off in a matter of seconds. Remember how I said logic is dead? RoboCop 3 resurrects it, then it kills it all over again, complete with 90's cheese. Afterwards, RoboCop has to escape the self-destruct that activated when the two robots destroyed each other (okay), and the villain is stopped...by the flame discharge by the jetpack, which means he can't stop the self-destruct. The fact that this villain is such a non-threat that never comes off as having any sort of personality or brutality in him means you can barely enjoy his defeat.

Basil Poledouris does at least return to score the music, and while a good chunk of it is from the first film, it is refreshing to hear that main theme once again (after RoboCop shoots up his roof with his gun - yes I'm serious), even if the movie has no sense of emotional depth. At least it doesn't reset RoboCop to having to find his human side again, but I'm amazed at the ineptness of OCP still having to get Delta City off the ground, but the idea of a Resistance fighting off against corporate bad guys is exactly what you think it is. I can understand someone really hating the movie, but for me personally, it's a stupid (but silly) movie.

And so ends my Redux Recap Trilogy on the three RoboCop movies. I hoped you enjoyed the reviews, and I promise you there will be more material (including Redux Reviews on another famous trilogy covered once before), but especially new reviews, coming soon. Stay tuned.

Overall, I give it 5 out of 10 stars.

Redux: RoboCop 2.

Redux Review #004: RoboCop 2.

Cast
Peter Weller (Alex Murphy/RoboCop), Nancy Allen (Anne Lewis), Belinda Bauer (Dr. Juliette Faxx), Dan O'Herlihy ("The Old Man" / OCP President), Felton Perry (OCP Vice President Donald Johnson), Tom Noonan (Cain), Willard E. Pugh (Mayor Marvin Kuzak), Gabriel Damon (Hob), Galyn Görg (Angie), Stephen Lee (Officer Duffy), and Robert DoQui (Sgt. Reed) Directed by Irvin Kershner (#114 - The Empire Strikes Back)

Review
Welcome to a Redux Review of the original RoboCop 2 film, which is a revised review meant to say more about the movie as a whole. The rating will stay the same, but I feel that this Redux is necessary (which I could say for a good deal the original batch of reviews). Not to worry, there will be new reviews on the way, but I feel that the upcoming Redux Reviews are necessary to help better the evolution of Movie Night, and to help alleviate the unintentional month long hiatus. Enjoy. 

RoboCop 2. For me, it might actually be more disappointing than the third one because of the fact that even though it is better than RoboCop 3, the level of expectations/care is way, way less in that film than in this, a movie that resets Murphy into fighting (internally) the man-or-the-machine conundrum...that had been dealt with in the first film. The mood in this film is significantly more darker, and the violence is certainly more prevalent this time around. I do like the effects, especially with the climax, which is very impressive to watch. The movie does at least retain the Media Break/commercial interludes (my favorite being the one about Sun Block 5000, a blue sunscreen that causes skin cancer with frequent use), but it feels somewhat lacking in the most critical component: RoboCop.

The movie seems to focus more on the impending bankruptcy of Detroit (the movie did at least get one prediction true)...or the police strike...or the building of RoboCop 2...or the rise of Nuke, or pretty much anything that involves RoboCop being not as prominent this time around. Sure, he does get butchered into pieces and promptly gets restored...inputted with so many directives. I understand the idea behind it (example: RoboCop shooting at spots near a dude until he drops his cigarette...actually, that's just weird), but it barely goes anywhere due to RoboCop promptly frying himself and all of his directives. I guess its interesting that he does this willingly, but by that point, I was just waiting for RoboCop to be involved with taking down Nuke...which he does, technically. The movie isn't very enjoyable to watch, because there isn't much to root for, aside from RoboCop. I can't care too much for OCP and their troubles, and I can't care for the city's problems when the mayor resorts to taking drug lord money to pay off a debt...I could care about the police strike, if it wasn't for that it kinda just ends after RoboCop fries himself. The music by Leonard Roseman isn't terrible, but after a riveting score in the first film, having a theme in which a chorus sings out RoboCop's name is a bit much, don't you think? This isn't the 60's Batman theme (which is meant to be campy), you know. At least the movie continues the tradition of being filmed in Texas (this time being filmed in Houston - I guess Texan cities double well for Detroit?).

The acting this time around is fine, and I do like Weller, who seems like he really is trying to make the movie work, although he evidently had gripes with the third act, particularly with the lack of morality, in his words. Bauer is okay, but as for her character...I'll get to that shortly. O'Herlihy gets a chance to ham it up this time around, even yelling "BEHAVE YOURSELVES" to the two RoboCops near the end. It is a bit jarring to see the Old Man turn out to be evil, but I guess the plan of engineering a police strike to make the city default is one you have to conceal very well. Noonan does an alright job, but he doesn't have as much memorability as the previous villain. Granted, he does become RoboCop 2, but by then it's almost too late. And of course there's Gabriel Damon playing a foul-mouthed teenage member of Cain's gang that's also (probably, never counted) a murderer.

The idea of having the character in the movie comes off as both silly and flat-out ridiculously over-the-top stupid, especially when he takes over Cain's "empire" near the end. Actually, the worst scene is his death sequence, a scene that is absurd in the idea that anyone could feel any sympathy for this character - especially after he uses a lunch-box gun against cops. Sure, he's a kid that was killed (by Cain no less), but...nope, the sympathy card doesn't go that far. I'm aware that Frank Miller was hired to write the film, but his script (deemed "unfilmable" by the producers) was changed, though some of his ideas (such as Hob) stayed. I wonder whose idea it was to have RoboCop confront Cain (the second time) and have him play chicken with him on a motorcycle, though. Miller's words on the movie: "Don’t be the writer. The director’s got the power. The screenplay is a fire hydrant, and there’s a row of dogs around the block waiting for it."

My other gripe with the movie is the idea of putting a drug lord's brain into a cyborg body, using the drug as a way of controlling him (?!), because you can totally control someone who's bigger and stronger than you and is completely insane (you'd go insane if you were took off your ventilator and promptly see your head with only your eyes and brain to watch. Because what could go wrong-Yea, everything goes wrong for OCP really fast (what did you expect?!). Sure, the rest of OCP (minus Faxx, who picked the brain) probably didn't expect the result they got, especially after they sent the thing to murder the mayor and a group of city councilmen when trying to make a deal to save the city (I do like  Of course the Old Man displays a canister of Nuke right in front of RoboCop 2 when making a presentation about how the cyborg will rid the drug from the streets...and the crazed robot goes right for it. Logic is dead. Technically you could say the Old Man and Faxx get their comeuppance...in that they might go to jail. Whoopee, because that makes all of this mean-spirited mess worth it. It would be like if Boddicker went to jail instead of getting the sendoff that he got in the previous film (you know, the one that knew how to treat its characters).

For all the times I compare it to the first film, the movie isn't inherently terrible. It's just a very scrambled mess that comes off as too cynical and probably a bit too long (nearly 2 hours), while managing to be only mildly successful. It does have its moments, but it begs to be made with more competent storytelling, and that is the greatest crime of all.

We all know about the third one. And if you don't...you'll see. 
For the record, I didn't intend on writing over 1000 words for an inferior sequel, it just happened.

Overall, I give it 6 out of 10 stars.

Redux: RoboCop (1987).

Redux #002: RoboCop.

Cast
Peter Weller (Alex Murphy / RoboCop), Nancy Allen (Anne Lewis), Ronny Cox (Dick Jones), Kurtwood Smith (Clarence Boddicker), Miguel Ferrer (Bob Morton), Dan O'Herlihy ("The Old Man"), Paul McCrane (Emil Antonowsky), Ray Wise (Leon Nash), Jesse D. Goins (Joe Cox), Calvin Jung (Steve Minh), Michael Gregory (Lt. Hedgecock), Robert DoQui (Sergeant Reed), and Felton Perry (OCP Executive Johnson) Directed by Paul Verhoeven.

Review
Welcome to a Redux Review of the original RoboCop film, which is a revised review meant to say more about the movie as a whole. The upcoming Redux Reviews are necessary to help better the evolution of Movie Night in all that has changed from its inception in 2010 to the present age - enjoy.

The initial thing that can be said about RoboCop, released on July 17, 1987, is that it showcased more than the sum of its parts from what you would have expected in its era, with layers of satire and emotional depth to make for a compelling movie. The action and violence is certainly entertaining in that goes over-the-top with great results. I remember seeing the scene where Murphy gets gunned down when I was barely a teenager, and even all these years later it still manages to leave an imprint on my mind because of how striking it is. One effect that certainly still ranks high on the memorability scale is the toxic waste infested Emil, right down to the collision with a car. The effects also are pretty well done, and the fight between ED-209 and RoboCop is impressive, right down to the end result (sure, the stairs part is cute, but the moment where one sees the eye of RoboCop exposed is just as striking). The music by Basil Poledouris is brilliant, being both triumphant and emotionally reaching at the right times, using synthesizer and orchestral music very well, with the music at the climax of the move working just right. Of course, there is plenty to say about the movie besides what one can say was enjoyable in imagery, because it is a movie that strikes at the heart of the age it was made in that still strikes a chord today because of how Paul Verhoeven and company succeeded in what they aspired to do despite the hard conditions of filming. The film was written by Edward Neumeier and Michael Miner, with the former being a junior story executive at Universal Pictures before aspiring to write screenplays, as inspired by him seeing the production of Blade Runner (1982); Miner came on Neumeier's radar because of a student video he did, which led to his idea of a robot-themed rock music video converging rightly with Neumeier's idea. Verhoeven, a Dutch director who had just moved to the States best known for films such as Soldier of Orange (1977) and Flesh+Blood (1985), was approached about directing the film after a handful of names dropped out of doing it, and he actually rejected it before his wife encouraged him to give the script a chance - the scene at the abandoned house hooked him onto doing it. The film was made for under $14 million and made roughly $53 million on original release, with its legacy growing in stature in the wake of analysis over its themes involving humanity and corporate policies.

You have to understand that the era of the 1980s had corporate people who were not above reading Japanese texts about killing more effectively. So, a movie involving a corporation taking the task of running a police department and trying to deploy products to rid crime like it was a cancer isn't exactly too off the deep end (one of the writers termed the movie as "fascism for liberals", so take that for what it is worth). The occasional newsbreak/commercials also help to serve the satire in its excesses and absurdity as well, considering that coverage of an ambush of cops with one gravely injured in the attack closes with a broadcaster going "Good luck" to them. The segments lighten up the movie when compared to the violence, which actually was toned down because of the MPAA deeming it an X rather than the R rating targeted...eight times; one can see the un-rated cut on home video now, fortunately.  Eventually, the movie also looks upon the humanity that starts to shine through the title character despite the attempts to strip it away and present it as product, one that results in a soulful and sobering film that could also be construed in religious tones, and Verhoeven has referred to the execution of Weller's character as like a crucifixion.

Weller had spent time studying mime after he managed to be cast in the film, one that had struggled to find a right lead actor because they wanted someone who was both a suitable size that wouldn't look awkward when the suit would be designed around them and also have a good jawline (of course, acting without having the face shown for most of it didn't exactly attract much help either). The studying did not help him much when the actual suit (made of flexible foam latex, polyurethane, and fiberglass) came around, because its bulky nature and long makeup time led to discomfort, complete with dehydration. Eventually, he worked out a more deliberate moving style to help deal with the costume, and it is evident to see how he managed to turn all of this into an excellent performance. He handles the one extended human sequence with warm gusto that you would expect from a cop drama before segueing into the main course handily; the humanity that was thought lost starts to come in bits and pieces that he handles with calm effectiveness, whether that involves him traversing through an abandoned house or the scene where he sees his own face in a reflection before wishing to be left alone. Allen (cast after Stephanie Zimbalist dropped out in preproduction) proves a fitting partner for certain moments to show his lingering humanity in earthy grace. 

It is the adversarial side that makes it all come together of course. Cox may have been known for nice-guy roles, but he sure chomps on this material for all of what it is worth, striking the heart of a great villain in believing in their righteousness to the bitter end no matter who gets struck in their wake. Gang leaders may be tough, but one hasn't seen nothing until he spooks a cocky executive with a few calm words and a hair-pull. O'Herlihy doesn't have a lot of screen time, but he certainly makes his presence felt as the head of corporate sharks. One of my favorite quirks is that Jones regards to the death of an employee via the ED 209 as a "glitch", and the Old Man is more angry at the "temporary setback". Ferrer elevates a corporate wolf-in-sheep's clothing into something charming in its smarminess, one that might have been an adversarial stooge in a different movie but instead ends up something different for satisfaction. Last but not least, Kurtwood Smith does a wonderfully evil job of making Boddicker more than just a cop-killer, with a look that was actually inspired by Nazi leaders. Sure, the execution sequence is a clear highlight, but my particular favorite occurs within a standoff during a negotiation, which involves a line like this: "Oooh. Guns, guns, guns! C'mon, Sal! The Tigers are playing... *slaps table* …tonight. I never miss a game." He has a manner to him that makes him more than just a common street thug, one who controls any scene he is in with confidence (later on, the character spits blood on his booking in jail, as suggested by Smith). The showdown at the end of the movie is riveting, showing the lasting conclusion of Verhoeven's "American Jesus" to its logical endpoint that Smith and company handle well.

The 102 minutes pass by with great execution by Verhoeven and company, as Rob Bottin and his special effects team (which included folks such as Phil Tippet) lend a great hand in making over-the-top spectacle in effects go hand-in-hand with the locations (shot in Dallas, TX alongside Pennsylvania and Long Beach) in seamless style. Sure, some might have had a problem with the violence, but I think it is necessary to understand our own human nature, as if satire is just something you can present in a vacuum or that the darkness of the human spirit isn't lurking within us. I didn't wince at the violence when I saw it years ago, I sure as hell don't see how one can wince at it now. Over three decades later, the legacy of the film is that none of the follow-ups that have passed in its wake have managed to top it in all of the aspects that made the original so striking. The 1990 sequel, with no Verhoeven or the original writers present, proved quite absurd in its continuation of corporate avarice while failing to reach the soulful highlights presented by the original in favor of ultra-violence that lacked a real third act. The 1993 sequel, now without its main star, was an ill-advised attempt at sanitizing the material for younger audiences that made for one hell of a movie to pick apart as a franchise killer. At any rate, the original 1987 movie aimed not for the strings of franchise-making or ultra violent fun but instead for a parable about how far one's humanity reaches even with the confines of a metallic body flung into pursuit for justice. It is a great action film, but it is also a well-done satire that still reaches the mark in corporate insanity and violent absurdity that makes it a movie for all time.

Overall, I give it 10 out of 10 stars.