Peter Weller in “RoboCop” ’87. I will call you “Murphy,” and Murphy when you call me you can call me “Al.”
Today! Right now! Right here! The first installment of The Retouchables, an irregular but recurring feature I’ll be writing for NPR Monkey See about reboots and remakes and re-remakes and, just maybe, bootmakers. IN THIS EPISODE: RoboCop!
José Padilha’s remake opened at number four with a bullet last weekend, so the time just felt right. This’ll be all on RoboCop for a while, I promise.
Thanks to Village Voice film editor Alan Scherstuhl and L.A. Weekly film critic Amy Nicholson for having me on the Voice Film Club podcast this week to talk RoboCop, and to listen in rapt mostly-silence while they discuss Vampire Academy. I’ve not seen the latter but I certainly will, based on the impression HAHAHAHAHAHAjokes it made on Amy and Alan.
You can hear the episode here. I can’t believe I forgot to plug the good RoboCop remake.
You have 20 seconds to comply, and then ED-209 will shoot you anyway.
Paul Verhoeven gives ED-209 his motivation. (RoboCop Archive)
Phil Tippet and ED-209. (RoboCop Archive)
I saw José Padilha‘s new remake of Paul Verhoeven‘s classic sci-fi satire RoboCop the other night. It reminded me of what it feels like when someone with a pleasantly melodic voice covers a song by Leonard Cohen or Bob Dylan: It’s technically “better” in all the ways that don’t matter, and worse in all the ways that count.