When it comes to modern sci-fi movies, RoboCop has to be one of the best. Part machine, part man, the 1987 film by Paul Verhoeven is a satirical, violent masterpiece. At its center is the gorgeously designed, iconic lead character who returned for two much lesser sequels, and was redesigned for a reboot released earlier this year.
So how did RoboCop come to be? What’s the story behind the silver and chrome character? A new book called RoboCop: The Definitive History hits shelves Tuesday. Written by Calum Waddell, it has all the answers. To celebrate its release, we’ve got a set of amazing RoboCop behind the scenes photos like the one above. Check them out below. Read More »
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Some of our greatest art has to do with crime. People who commit it, people who fight it, people who study it, these are stories that very easily provide gripping emotion. Innumerable classic movies, music, television and more are based on crime and a new gallery exhibit celebrates it all.
The Hero Complex Gallery in Los Angeles presents an exhibit called I Am The Law/A Life of Crime opening Friday August 15. Dozens of artists from all over the world have dramatized their favorite movies and television shows where someone either breaks the laws or enforces them. That opens up a pretty wide spectrum, from Sherlock, The Wire, The Blues Brothers, Luther and Hannibal on TV to RoboCop, Lethal Weapon, The Killer, The Godfather, Se7en and Die Hard at the movies. They all are represented plus many more. Below, see just a tiny selection of art from I Am The Law/A Life of Crime. Read More »
Mondo loves to do posters for niche, interesting movies as well as some of the biggest movies of all time. Thursday’s releases fall in that second category. Popular and distinctive artists Tom Whalen and Kevin Tong now join the ranks of Tyler Stout, Martin Ansin, Olly Moss, Todd Slater, Tim Doyle and Jay Shaw with their own, unique representations of RoboCop for Mondo. Paul Verhoven’s 1987 classic has seen all kinds of different posters but these latest two, on sale Thursday, are definitely two of the coolest. Below, check out all the information on them. Read More »
Posted on Monday, June 2nd, 2014 by Angie Han
UPDATE: The Robocop statue presentation has been cancelled, but the first pitch at Comerica Park will proceed as planned. Original story follows.
Detroiters are finally getting a real Robocop… statue. The 10-foot bronze monument to the pop-culture icon will be unveiled tomorrow, June 3, which not-so-coincidentally also marks the DVD/Blu-ray release date for the 2014 Robocop remake.
To celebrate this very special event, the organizers behind the statue have declared Tuesday to be “Robocop Day.” Find out what that entails after the jump.
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Sideshow Collectibles sent me a sample of Hot Toys’ Robocop ED-209 Sixth Scale Figures. Lets unbox this figure and take a look at whats inside the box. After the jump you will find photos of the Hot Toys Robocop ED-209 Sixth Scale Figure, alongside my thoughts on the product.
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Posted on Sunday, February 16th, 2014 by David Chen
Dave and Devindra try to figure out what the heck Shia LaBeouf is doing, wonder if The Raid 2 has too much action, and get disappointed by Escape Plan. Chris Klimek from Washington City Paper joins us for this episode. Be sure to check out Chris’s Die Hard’s Guide to Die Hard.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Also, like us on Facebook!
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It’s a holiday weekend, which means hopefully you’ll head out the movies. And while the smart choice would be to go see The Lego Movie again, there’s probably a good chance you’re curious about Jose Padilha‘s remake of RoboCop. We don’t blame you. A reimagining of Paul Verhoven’s classic 1987 film, this new RoboCop has been a topic of much interest since we first heard about it. Even before there was a director, star, or spy images of the suit we wondered if a new RoboCop would be worthy of the name or just another example on the long list of Hollywood missteps.
Personally, I think it’s a little of both. You can read my review here. Below, tell us what you thought of Jose Padilha’s RoboCop. Read More »
When I sat down with director Jose Padilha at Comic Con to talk about his upcoming Robocop reboot, I expected to have a very superficial conversation about his first Hollywood blockbuster. Instead, he dished out a deep psychological dissection of the characters and story of his film.
I’ve now seen the film and got another chance to talk with Padilha about the finished project. We spoke about how he got the directing gig, and the source of the concept at the core of the film. We talk about his background before filmmaking, when he studied political economy at Oxford. He tells me the most interesting thing he learned about the advancement in robotics while developing the movie. We discuss the struggles of trying to make a smart blockbuster movie in the Hollywood system. Why his RoboCop is not R-Rated and dealing with the MPAA over graphic violence in the film. All of this and more can be read in my interview with Jose, after the jump.
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If Jose Padilha‘s RoboCop wasn’t called “RoboCop,” it would be much easier to embrace. While this remake evokes and/or borrows many designs and big ideas from Paul Verhoven’s 1987 original, the meat of the story is almost totally unique, giving it the feel of a completely different movie. Obviously, that was the point, but by simultaneously differentiating itself while also staying beholden to the original, the film is burdened with the weight of expectations and analysis of the original film.
That burden aside, Padilha has made a pretty solid movie. It has a lot to say and it delves into facets of the Alex Murphy character we’d never seen before. The story is global; the influence of media and government plays a huge role. There’s some really intense action, which takes a back seat to myriad points of social commentary and morality. Those points give the film a seemingly unique voice, but it doesn’t work as a cohesive piece. Padilha has brought together a strong cast with beautiful music and camerawork to make a movie much better than one would expect, but nowhere near what you’d hoped. Read More »