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Full Watch Robocop Online Movie, "Robocop" Netflix Download Free Video Watch Robocop Movie 2014, Watch Robocop Online Putlocker Joel Kinnaman is all cheekbones and chin as Alex Murphy, the straight-arrow police officer whose fatal wounding in the line of duty makes him a perfect fit for tech-baron Michael Keaton and scientist Gary Oldman’s latest attempt to create the perfect cybernetic law enforcer. But when Murphy wakes up in a lab stripped of all but his most vital organs, he – along with his adoring wife, played by Abbie Cornish – begins to question how much of the man is left inside this steel shell.
Remaking a classic is a thankless, some would say pointless, task: you’d be hard pressed to find anyone outside of the production team who ever thought this reboot of Paul Verhoeven’s still flawless 1987 action movie was a good idea. But, to give director Jose Padilha and his scriptwriters their due, the new version goes out of its way to distance itself from the original. Junking Verhoeven’s sledgehammer satire and outrageous ultraviolence in favour of real-world politics and 12A thrills, this is a slicker, shinier, admittedly inferior affair. But with a strong cast, a roaring pace and at least one genuinely unforgettable scene, it’s by no means a write-off.
The film’s most notable weakness is its action sequences: the pace is too frenetic and the camera too shaky to hold the attention. The climax is particularly poor, involving a lot of running, shouting and blasting, then it’s over. But ‘RoboCop’ makes up for this deficiency in other areas. Its dedication to touching on tough questions – about will and self-determination, about drone warfare and necessary force, about the power of the media over public opinion – is admirable, and the script has a certain blunt wit. As for that one great scene: if you’ve ever felt sickened by those medical health warning images on cigarette packets, hold on to your lunch
The answer is simple: they were directed by great filmmakers who were allowed to make the movies they wanted to make. David Cronenberg and John Carpenter took the basic building blocks of the original films - broad concepts, settings and characters - and used them to make cinema that was uniquely their own. They weren’t saddled with homages to make or famous beats to hit, and so their remakes bear a family resemblance to the originals but, in the end, stake their own tones, themes and aesthetics. There’s no point in The Thing where the titular monster briefly transforms into a James Arness-looking creature. There’s no moment in The Fly where everything stops so someone can say ‘Help meeeee!’ and wink into the camera.
The Robocop remake is directed by a filmmaker who has proven his chops. Jose Padilha’s Elite Squad films show a filmmaker with grit and talent; given the right material he could have made a great remake of Robocop. For the first half hour of Robocop 2014 it seems as if Padilha has been given that material, that he’s been allowed to make a movie that conforms to his vision. I’m not sure I would have liked that movie much - it’s a serious movie, a movie where Robocop looks in a mirror and weeps when he first sees what has become of himself - but it’s a movie that has its own concerns and its own aesthetic.
The problem is the movie Padilha starts making isn’t Robocop; I don’t mean to say it isn’t Verhoeven’s Robocop, as that’s obvious from the tone of this film. The movie that Padilha is making isn’t a cop movie, and the need to make the title fit what’s on screen forces his movie to contort itself into something unfulfilling and uninteresting. Padilha’s movie about drone warfare and the role human conscience must play in our foreign policy gets sidelined by warehouse shoot-em-ups that aren’t exciting and a police corruption storyline that takes the wind out of everything. Robocop 2014 is subject to the tyranny of its high-concept title.
There are two films at war in Robocop 2014: there’s the drone movie and there’s the action spectacle. Robocop needs to end with a big robot gun battle because that’s the kind of movie it is, but it’s also trying to be the kind of movie where perhaps the evil CEO has a point. When the gun battle comes it doesn’t feel earned, it feels like everybody is overreacting and that this is a story that should end with Robocop giving an interview, not shooting people dead. Padilha somehow made a Robocop that needed to end with Robocop the whistleblower, not Robocop the gunman.
But even that drone warfare movie is hobbled by studio interference. One of the insidious evils of drone warfare is how clean it appears to us; we sit at home and a robot goes off and drops bombs on… somebody. We never see the damage. Even if a wedding party is wiped out, it’s something happening offscreen. Robocop 2014’s PG-13 violence makes the film just as sanitized as drone warfare. The script doesn’t make a particularly strong argument against drone warfare, but even the few weak points it makes are undermined by the bloodless nature of the action. There’s one scene in the film where a peace-keeping robot kills a child, but we don’t truly see it. To sell the horror of drone warfare, to reveal the bloody truth of our robot death squads, Padilha needs to be able to show this child really DIE, not just disappear in an explosion as the camera jerks aside. We need to see squibs hit, body parts come undone, a young man absolutely destroyed by a barrage of bullets.
Forget all that. The only questions worth pondering are whether 1) the new film manages to avoid boring the pants off you, and 2) whether it will make money for the studio. We say: just about and who the heck can tell, these days. The producers made a smart decision in hiring José Padilha as director. In 2007, the Brazilian puzzled punters by delivering a film (the Golden Bear-winning Elite Squad) that seemed to make heroes of Rio’s famously brutal paramilitary police service. Sound familiar?
Robocop’s opening sections follow robotic products of the sinister EvilCorp, EnormoCorp, SatanCorp or whatever it’s called (oh, yes, OmniCorp) as they violently police an occupied overseas territory. Back at home, woolly-bottomed liberals refuse to allow such machines on the streets. So the company, headed by demonic Michael Keaton, decides to insinuate the technology into the body of an injured police officer. You already know all this.
Annoyingly for those hoping for a total dud, Padilha does some very good work with the action sequences. The thudding discharges and whistling ricochets drag you, if not to the edge of your seat, then at least halfway along its surface. Joel Kinnaman, the Swedish star of Easy Money, is impressively stone-faced as the cop who ends up being made largely of metal.
So, the new film does its business reasonably efficiently. Sure, the satire doesn’t penetrate. Yes, a game Abbie Cornish is saddled with a chiffon-light “wife part”. True, Gary Oldman munches too noisily as the head scientist. What did you expect? Robocop?