Verhoeven's strong suits have always been visual energy and a Rabelaisan realism: a gutsy, jovial way of ripping through social systems.
RoboCop relies for most of its impact -- and, more disturbingly, for much of its comedy -- on an absurd exaggeration of physical force.
| Original Score: 2/4
When the law-enforcing RoboCop cleans up corrupt Motown, his victory is satisfying because he's got machinery and morals on his side. RoboCop is where high-tech meets High Noon.
| Original Score: 3/4
Like the tormented figure at its center, this movie combines the mechanical with the human. And though much of the film is made up of spare parts from cop shows, exploitation flicks and comic books, it nevertheless comes to life.
A sci-fi action film with a silly title that turned out to be a biting satire of big business practices.
| Original Score: 3.5/4
There's a brooding, agonized quality to the violence that almost seems subversive, as if Verhoeven were both appalled and fascinated by his complicity in the toxic action rot.
Vile, violent, and very funny. The pace is breakneck, and when the wit does run out, way-out weaponry and whole-scale destruction keep the appalled excitement burning.
Whatever may have been in the minds of the writers, Edward Neumeier and Michael Miner, has more trouble emerging from Mr. Verhoeven's sizzling battles than poor Murphy does from his robosuit.
RoboCop is as tightly worked as a film can be, not a moment or line wasted.
Most thriller and special-effects movies come right off the assembly line...RoboCop is a thriller with a difference.
...RoboCop is one weird and entertaining hybrid of camp and sci-fi shoot-'em-up.
...Verhoeven strives for bloodcurdling, darkly comic eloquence. He gives us heart with the hardware. Savagery with smarts.