“RoboCop 2.0 is new, and not exactly improved, but it’s still worth the upgrade.”
I have an iPad 2, and I really liked iOS 6, and was perfectly content with it. Soon enough, Apple came out with iOS 7, and when I upgraded I didn’t like it. It was all shiny and colorful, but different than I was accustomed to.
That’s exactly the way felt about José Padlha’s “RoboCop” reboot: Sure, you can do it, but why? I like my old RoboCop just fine, thank you!
Like Apple, Metro-Goldwyn-Mayer “upgraded” anyway.
Anyone who has read this blog before has probably noticed that I hate changes made just for the sake of change.
With iOS 7, once I got used to the changed appearance, I noticed that it offered certain benefits that iOS 6 didn’t. The same thing applies to the new RoboCop. It may not be the one that I remember, but for the most part it doesn’t feel like the changes were done just to change something (or as a cynical money grab, which is also popular with Hollywood).
You see, studio executives realize that if they reboot a popular franchise, name recognition is built-in, as is (they’d like to think) the audience.
But there’s a problem, especially when the film you’re rebooting a masterwork, which I honestly think the original film is. It was a proudly R-rated stew of jingoism, bad taste and violence so extreme that the the original film was rated X before Paul Verhoeven cut it enough to warrant an R rating.
So when I learned of the reboot, directed by Brazilian director José Padilha (“Elite Squad”) was going to be rated PG-13, something stank.
The odor that aroused my attention must have been the laundry that’s sitting in the hamper next to my desk, because Padilha’s “RoboCop” differs from Verhoeven’s in ways that are mainly good, and the film was actually pretty enjoyable.