A beloved modern sci-fi classic, the original RoboCop hardly seems like an ideal property to remake. The good news is that this effort is superior to other recent reboots (including Total Recall and Carrie). It’s clear that Brazilian filmmaker José Padilha (Elite Squad) is attempting his own take on the source material, one that still touches on some interesting themes and ideas. The bad news is that despite the best of intentions and some solid individual moments, the film just misses the bullseye. The film is better than anticipated, but it’s still disheartening that the end result is merely… passable.
This reboot is set in the near future. The OMNI Corporation has built a massive business providing robot soldiers to quell threats in foreign lands. Despite domestic anti-robot legislature, the company president (Michael Keaton) and board members (Jennifer Ehle and Jay Baruchel) see an opportunity to get around government policy by creating a cyborg (with the intention of eventually getting the law repealed). When honest Detroit police officer Murphy (Joel Kinnaman) is fatally injured, OMNI obtains the rights to create a RoboCop. However, complications arise when Murphy not only tries to solve his own murder, but discovers corruption within the police department and OMNI.
The tone is much more serious and solemn. Eschewing the satire of the original, this flick plays out more like a take on Frankenstein. The first half is focused on Murphy and his emotional response to being little more than a few body parts kept alive against his will in a lab. Despite his behavior being modified with drugs, this RoboCop clearly feels like a freakish monster. Even as he grows more accustomed to his new form, the tortured man-machine must try to find a new way to relate with his wife (Abbie Cornish) and son (John Paul Ruttan).
While this is an interesting twist on the source material, the film has a lot on its plate and doesn’t resolve the issues raised. In addition to the characters already mentioned, there’s a scientist troubled by working for nasty corporation (Gary Oldman), a sinister employee (Jackie Earl Haley), a conservative TV show host (Samuel L. Jackson) and some crooked cops. Many of these characters are interesting, but with so many introduced in the first half hour, it’s hard not to feel like a couple could have been excised.
The supporting cast give strong performances for a genre film. And when the action finally does arrive, it’s stylishly handled. There’s an impressive looking and engaging raid on a warehouse in total darkness, and a well staged battle between the protagonist and several of the ED-209 line (a series of large, machine-gun toting machines). Some of the visuals images are unique and creepy as well, including the reveal of Murphy’s true physical state.
Yet, just as many things are wrong as are right. While there was great potential to examine the nasty corporate, marketing and political campaigning world, the movie doesn’t do as much as it could with them. Ideas that are presented aren’t as effectively paid off as they could be. The climax itself is underwhelming and doesn’t do much with its antagonists, failing to give them a big moment. Additionally, there are plot holes and confusing moments that don’t hold up to much scrutiny after leaving the cinema.
If you’re unfamiliar with the original RoboCop, this a adequate effort. In fact, it’s still better than any of the 1987 film’s sequels. The movie certainly does some things right, but it lacks a real sense of zip, clarity and sharp criticism that make the first incarnation so memorable. It’s a close call, but the malfunctions present keep the film from reaching its full potential.