Post by Admin on Feb 28, 2014 9:56:29 GMT
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“Robocop” was about a man brutally shot to death whose corpse was resurrected in a metallic casing that allowed him to shoot rapists in the nuts. By the time “Robocop 3″ ended, he was a mascot with a cartoon, appearing on lunch boxes, and a PG-13 television series. So truth be told, José Padilha‘s remake doesn’t damage the character any further. The best thing I can say about it is that it’s better than “Robocop 3.”
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This new version may be PG-13, but it is definitely more adult than the Robocop we last saw bonding with little kids, fighting robot ninjas, and flying with rocket packs through the city. 2014′s “Robocop” tries to be as adult and mature as humanly possible, well within the confines of the PG-13 rating. This new “Robocop” is redesigned to be much more in the vein of Iron Man, with a suit that looks less like a mobile respirator, and more like Alex Murphy is perpetually stuck in the suit and can’t get out. Gone are the Christ allegories, gone are the jabs at consumerism, and gone is the gruesome death of Murphy in exchange for a very sanitary scene of a car explosion that renders him near death.
Having not fully healed from the burns leveled by Spike Lee’s sacrilege of the amazing Oldboy, here’s yet another example of pointless Hollywood cannibalisation with a studio opting to remake a perfectly good recent film with something dumber and worse.
In the pastel-coloured 1980s, a very strange science-fiction flick emerged with a deceptively simple premise: In the dystopic future of 2014, the world is cleanly divided into the haves and have-nots. Everything has been privatised, even the local police force. Crime is rampant and there’s money to be made in security. OmniCorp (or OCP), the conglomerate that seems to own all of Detroit, has attempted to create unmanned crime fighters, but the robots’ very lack of humanity and judgment renders them only good as mass-murdering menaces. One of the rare true good guys, police officer Alex Murphy is called to go above and beyond his crime fighting service even past death. After his attempt to crack a huge crime ring goes catastrophically wrong, what’s left of his brutalised organic matter is poured into a robotic suit and Murphy once again takes to the streets to stop crime and eventually solve his own murder.
Watch RoboCop Online
some scenes, but he’s less about the grue and gore and more about the impact of said scenes. In one moment, Oldman’s character reveals to Alex how truly irreparable his body has become. The elements that truly bring down “Robocop” (beyond the watered down violence), is that the writers somehow feel the need to focus on Robocop and his relationship with his wife. In the original series, Murphy was cursed with memories of his past life that wouldn’t allow him to move on. Here, not only does he seem to have a relationship with his wife, but she constantly interferes in everything he does.
Most of the time when we see the rebuilt Murphy, it’s with the visor off and the character is always in a headpiece that make him look like he’s about to go play rugby. Padilha also chooses to have Murphy recall his past normal life immediately, which takes the tension of its discovery out of the picture. He’s doped into acquiescence by the scientists and simply must wait for the drug to wear off before he remembers who he was, his family and his murder. There’s none of the cool, distaff line deliveries or the dry, unintentional humour that showed how the programming had originally taken Murphy over. This guy is a quivering mess; there’s no stoic hero, no coolness.
It’s ridiculous that a committee convinces her to sign off on turning Alex in to a war machine without emotions, and then spends most of the movie whimpering to him “Alex! I’m losing you! Please come back!” If you cared so much, why not just let him die as he should have? There’s even a goofy scene where Robocop is allowed to sit and talk with his family, and catches up with his son about a baseball game. Oh the melodrama. The movie doesn’t pound home the satire as the original film did, but it certainly has some great moments depicting a world that’s much more linked to our current government and “war on terror.”
Gone is the envelope-pushing gore that simultaneously shocked, thrilled and made western audiences look at their reception of cinematic violence. The best we have is a witless, obligatory-feeling scene of what’s left of Murphy taken out of the metal suit, which looks gross and like obvious, badly-rendered CGI. Gone was the analogy of allowing the wealthiest to take away the rights and security of the people by making it a commodity. Watered down to invisibility was the simplest homily of the heart and will of a man overcoming the tide of technology, even when it was keeping him alive. My feeling was that despite the original’s box-office and critical success, this RoboCop was meant to bring in a broader, younger audience and therefore must be weaker and stupider.
Watch RoboCop Online
Click Here to Watch Full Movie Online
Click Here to Watch Full Movie Online
“Robocop” was about a man brutally shot to death whose corpse was resurrected in a metallic casing that allowed him to shoot rapists in the nuts. By the time “Robocop 3″ ended, he was a mascot with a cartoon, appearing on lunch boxes, and a PG-13 television series. So truth be told, José Padilha‘s remake doesn’t damage the character any further. The best thing I can say about it is that it’s better than “Robocop 3.”
Watch RoboCop Online Free
This new version may be PG-13, but it is definitely more adult than the Robocop we last saw bonding with little kids, fighting robot ninjas, and flying with rocket packs through the city. 2014′s “Robocop” tries to be as adult and mature as humanly possible, well within the confines of the PG-13 rating. This new “Robocop” is redesigned to be much more in the vein of Iron Man, with a suit that looks less like a mobile respirator, and more like Alex Murphy is perpetually stuck in the suit and can’t get out. Gone are the Christ allegories, gone are the jabs at consumerism, and gone is the gruesome death of Murphy in exchange for a very sanitary scene of a car explosion that renders him near death.
Having not fully healed from the burns leveled by Spike Lee’s sacrilege of the amazing Oldboy, here’s yet another example of pointless Hollywood cannibalisation with a studio opting to remake a perfectly good recent film with something dumber and worse.
In the pastel-coloured 1980s, a very strange science-fiction flick emerged with a deceptively simple premise: In the dystopic future of 2014, the world is cleanly divided into the haves and have-nots. Everything has been privatised, even the local police force. Crime is rampant and there’s money to be made in security. OmniCorp (or OCP), the conglomerate that seems to own all of Detroit, has attempted to create unmanned crime fighters, but the robots’ very lack of humanity and judgment renders them only good as mass-murdering menaces. One of the rare true good guys, police officer Alex Murphy is called to go above and beyond his crime fighting service even past death. After his attempt to crack a huge crime ring goes catastrophically wrong, what’s left of his brutalised organic matter is poured into a robotic suit and Murphy once again takes to the streets to stop crime and eventually solve his own murder.
Watch RoboCop Online
some scenes, but he’s less about the grue and gore and more about the impact of said scenes. In one moment, Oldman’s character reveals to Alex how truly irreparable his body has become. The elements that truly bring down “Robocop” (beyond the watered down violence), is that the writers somehow feel the need to focus on Robocop and his relationship with his wife. In the original series, Murphy was cursed with memories of his past life that wouldn’t allow him to move on. Here, not only does he seem to have a relationship with his wife, but she constantly interferes in everything he does.
Most of the time when we see the rebuilt Murphy, it’s with the visor off and the character is always in a headpiece that make him look like he’s about to go play rugby. Padilha also chooses to have Murphy recall his past normal life immediately, which takes the tension of its discovery out of the picture. He’s doped into acquiescence by the scientists and simply must wait for the drug to wear off before he remembers who he was, his family and his murder. There’s none of the cool, distaff line deliveries or the dry, unintentional humour that showed how the programming had originally taken Murphy over. This guy is a quivering mess; there’s no stoic hero, no coolness.
It’s ridiculous that a committee convinces her to sign off on turning Alex in to a war machine without emotions, and then spends most of the movie whimpering to him “Alex! I’m losing you! Please come back!” If you cared so much, why not just let him die as he should have? There’s even a goofy scene where Robocop is allowed to sit and talk with his family, and catches up with his son about a baseball game. Oh the melodrama. The movie doesn’t pound home the satire as the original film did, but it certainly has some great moments depicting a world that’s much more linked to our current government and “war on terror.”
Gone is the envelope-pushing gore that simultaneously shocked, thrilled and made western audiences look at their reception of cinematic violence. The best we have is a witless, obligatory-feeling scene of what’s left of Murphy taken out of the metal suit, which looks gross and like obvious, badly-rendered CGI. Gone was the analogy of allowing the wealthiest to take away the rights and security of the people by making it a commodity. Watered down to invisibility was the simplest homily of the heart and will of a man overcoming the tide of technology, even when it was keeping him alive. My feeling was that despite the original’s box-office and critical success, this RoboCop was meant to bring in a broader, younger audience and therefore must be weaker and stupider.
Watch RoboCop Online