For some reason , Hollywood became convinced that it is time to reshoot the features of Dutch filmmaker Paul Verhoeven who helped give substance to the American action cinema in the 1980s and 1990s , such as Total Recall – whose remake came out in 2012 – and now RoboCop. It turns out that the films of Verhoeven, and personalist , always come with a built satire, which makes it potentially ridiculous trying to play them .
MGM took few years with the project, to see Elite Squad and decide that the Brazilian director José Padilha was right to update the RoboCop . The similarity is evident – Captain Nascimento of BOPE and his train headed to deal with the crime of machinelike way, with the efficiency of a robot, and dehumanized in the process – and in fact is not surprising that the 2014 split with RoboCop the first Elite Squad also some qualities and their defects.
The main similarity is the tendency to create an intricate panel views. This can be understood as both an advantage (the movie would gain in complexity to encompass various issues) and as a disability (the views are nullify each other and the film is without its own that goal perspective).
Regarding RoboCop 1987, we have known the premise of the cop who is attacked and is kept alive as a machine. The difference Padilla brings many adjuncts are created not only as functional pieces for the plot but mainly as discussion topics: scientist à la Dr. Frankenstein (debate of scientific ethics), the police (discussion of corruption, seduction of crime) , the TV anchor reactionary (the debate power of media influence), industrial with your marketing department (debate on consumerism and public opinion).
What we have is not necessarily complex panel, maybe just complicated. Who seems lost in the midst of shooting subjects is precisely the protagonist , dumped in their decisions and in his hero’s journey. With Captain Nascimento was the same (and correct Padilha knew in the second movie), and so the first Elite Squad seemed sometimes condemn, sometimes automated legitimize violence. In his RoboCop, the director shows like programming the machine reduces the humanity of the police, but at the same time it satisfies, in scenes inspired action games in the first-person shooter, with the efficiency of this machine .
Perhaps the most timely example of this disorder is the use that Padilha is the theme music created in 1987 by Basil Poledouris: the fanfare appears within the first triumphantly evocative credits, but then the theme is reused during the film ironically, to associate it to the fascist discourse. The theme music ceases to be reassuring part of a collective unconscious and becomes mote the villainous side of the debate – and the viewer , understandably, is not understanding whether or not to adhere to it.
Like RoboCop, Padilha is obsessed with interfaces, information filters and forms of mediation full à la NSA surveillance is a much hotter topic in the film than the drones), that its paradoxical inability to elect their own perspective will undoubtedly this remake a success in classes semiotics. But it is in comparison to the original RoboCop things are clear: Verhoeven mixed themes and tones in the key of black humor to create a worldview idiosyncratic but singular, while the plural of Padilha film is above all a symptom of the age of misinformation in which we live.
For example the download of the full criminal database of Detroit, catching the head of Alex Murphy, full access to information, sides and debates can only result in schizophrenia. Maybe there will not only remake the polarization that has generated criticism as well as the interest that this RoboCop stimulates.
Director: José Padilha
Stars: Joel Kinnaman, Gary Oldman, Michael Keaton
3/5 – Good