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Trevor Hogg chats with production visual effects supervisor Jamie Price and visual effects supervisor Nordin Rahhali about bringing a robotic enhanced law enforcement officer to the futuristic streets of Detroit once again...
“I saw the original in the theatre when it came out in 1987,” recalls Jamie Price (The A-Team) who was chosen by filmmaker José Padilha (Bus 174) to supervise the visual effects for RoboCop (2014). “I watched it and the sequels again before we made this movie to re-familiarize myself because sometimes your recollections don’t always match the reality of it. One of my first questions to José was, ‘What approach are you thinking for the movie?’ In a lot of ways the original is untouchable. He had the same feeling and was clear that we weren’t remaking RoboCop. We were making our version of it.” The subject matter would be the same though the tone shifted away from »
Feature Ryan Lambie 11 Mar 2014 - 05:39
In the late 80s, Carolco was one of the biggest studios in Hollywood, but by 1995, it was gone. Ryan charts its dramatic rise and fall...
Paul Verhoeven is not a happy man. It's 1994, and the Dutch director of (among other things) RoboCop and Total Recall is in a pivotal meeting with executives at Carolco Pictures. They're in the boardroom to discuss Crusade: a lavish, $100m historical drama described as Spartacus meets Conan.
With a script by Walon Green (The Wild Bunch, WarGames), and a cast headed up by Arnold Schwarzenegger, it sounds like the kind of star-filled, opulent film Carolco Pictures is famous for making. The supporting cast includes Jennifer Connelly and Robert Duvall. The script is vibrant and brash. There are massive sets being built in rural Spain. But privately, Carolco's bosses are anxious; they have another hugely expensive project in the works »
Hey, Toronto! Has the recent remake of Paul Verhoeven's RoboCop left you with a hankering to witness some vintage robotic law enforcement on the big screen? Well, you're in luck! The Verhoeven original screens tonight at 9:30 at the Tiff Bell Lightbox as part of their ongoing Paul Verhoeven retrospective and we've got a pair of tickets to give away!In a destitute, crime-ridden near-future Detroit on the verge of being bought up wholesale by rapacious mega-corporation Ocp, dedicated cop Alex Murphy (Peter Weller) is brutally murdered in the line of duty by bespectacled psycho Boddiker (Kurtwood Smith) and his gang of thugs. What's left of Murphy is promptly appropriated by Ocp scientists and used as the basis for their newest product: RoboCop, a cyborg law...
[Read the whole post on twitchfilm.com...]
While The Legend of Conan still has a long road ahead before production starts, star Arnold Schwarzenegger, screenwriter Andrea Berloff, producer Fredrik Malmberg and original Conan The Barbarian star Sven-Ole Thorsen (Thorgrim) recently spoke about this highly-anticipated sequel with ArnoldFans.com.
The plot takes place several years after Conan The Barbarian, with the title character getting back into action as he must fight to keep his throne, and live up to his own legend. The 66-year-old Arnold Schwarzenegger revealed that age doesn't mean anything to him, and he's looking forward to getting back into action on the set.
"Conan is very much alive. Age doesn't mean anything to me, because I work out every day. I work out twice a day, as a matter of fact. At night I work out with weights, and in the morning I do cardiovascular training. So for me, to get on the set and »
Back in 2008, director Michel Gondry made the small-budget comedy Be Kind Rewind. In it, Mos Def and Jack Black have to team up to recreate a whole bunch of different movies by themselves after an accident causes all of the VHS tapes in the rental place where Mos Def works to get erased. They wind up remaking a large variety of movies, from Ghostbusters to Driving Ms. Daisy to Rush Hour 2, but perhaps the most memorable of the group was their take on Paul Verhoeven's RoboCop. Now we have a case of life imitating art, because various groups of filmmakers have come together to recreate their own micro-budget remake of RoboCop. Brought to our attention by Giant Freakin Robot, the crowd-sourced film was created by a mix of 50 amateur and professional filmmakers from Los Angeles and New York who agreed to split the 1987 action classic into parts to be remade. »
Jose Padilha.s RoboCop reboot was one of those movies that met a wall of negative publicity long before it even arrived in theaters. Though we never held a formal ceremony declaring it as such, Paul Verhoeven.s original RoboCop belongs to some untouchable "Hall of Fame" of cinematic classics, and the idea of trying to retell the story to a new generation was heresy, sacrilege And criminal. We just don.t do those sorts of things around Hollywood, sir! Then we saw the movie. And it wasn.t an abomination. Eric reviewed it, and said it "actually plays with some legitimately interesting, different ideas that come together to create an attention-worthy entry in the science-fiction genre." Audiences who might have been skeptical at first checked it out. Box Office Mojo reports that after this weekend, Padilha.s reboot has crossed the $51 million mark, domestically. Here.s a number, though, »
The Lego Movie was the only clear winner during a so-so February at the box office. Overall domestic grosses came in at around $700 million, which was a 13 percent improvement over last year. Still, it's way off from 2012's $818.2 million record, and is also noticeably lower than 2010 and 2009.Through the end of February, year-to-date box office is trending up 10 percent from 2013. If that pattern can continue, 2014 will be the first year in which the domestic box office breaks the $11 billion mark.The Lego Movie dominated the month of February, earning more than the next four titles combined. The surprise animated hit opened to $69 million, which is the second-highest February opening ever. In the weeks since, it hasn't dropped by more than 37 percent; through the end of February, Lego had already earned $192.7 million at the domestic box office.If it holds up well against Mr. Peabody & Sherman, Lego will wind up with at least $270 million total. »
- Ray Subers <firstname.lastname@example.org>
The Paul Verhoeven filmography screens at the Tiff Bell Lightbox through April 4th, culminating in a screening of his new “crowdsourced” film, Tricked.
Common wisdom dictates that cynicism and sentimentality are carefully linked, if not outright synonymous. In filmic terms, the most comfortable formulation of that argument is to align, for instance, romantic comedies with socially-acceptable (and, often, utterly noxious) notions of gender politics. Through the deployment of relationships and character profiles that support popular notions of how women and men behave, these movies are able to exploit comfortable mores in order to mainline easy pathos. What’s less common is to consider how that relationship between affect and effect can be subverted, perhaps because it’s relatively rare for truly subversive artists to be handed the proverbial keys to the kingdom.
- Simon Howell
As the news broke this week that Paul Greengrass is interested in finding a way to bring "Zealot" the bigscreen, it made me sad that we still haven't seen Paul Verhoeven's proposed movie about the historical Jesus Christ. It's a subject Verhoeven's been studying for decades now, and I have to imagine he would bring a real breadth of knowledge to his approach. Like Verhoeven, I would assume Greengrass is going to try to dig deep to show us something we haven't already seen from this story. Any time a filmmaker tries to tackle a subject as big and vague as "Jesus" for a movie, you're going to learn a lot about the filmmaker from the final product. However, Christopher Spencer has put that theory of mine to the test by turning in a genuinely bland and forgettable picture here, about as middle-of-the-road as a movie can be. I »
- Drew McWeeny
Won’t someone save cable news? It’s not just that ratings are down across the board for the Big Three 24-hour networks — although 2013 was unquestionably a bad year for everyone. Far more damaging, I think, is the fact that cable news as an aesthetic — as a compelling method for exploring the important topics of our modern era — has entered what feels like a late-decadent period. The typical news anchor on CNN or MSNBC or Fox News floats across a set built out of touchscreen walls and occasional chat-friendly desks: It’s like all of cable news takes place in »
- Darren Franich
Only one review this week as we tackle Pompeii, but we discuss more news items than normal as a lot of superhero and franchise casting has taken place recently, plus we discuss our Oscar wishlist for those we'd like to see end up winning in some of the major categories. If you are on Twitter, we have a Twitter account dedicated to the podcast at @bnlpod. Give us a follow won'tchac I want to remind you that you can call in and leave us your comments, thoughts, questions, etc. directly on our Google Voice account, which you can call and leave a message for us at (925) 526-5763, which may be even easier to remember at (925) 5-bnl-pod. Just call, leave us a voice mail and we'll add those to the show and respond directly. An alternative to that option is a new way of leaving us a voicemail directly from your computer. »
- Brad Brevet
The future of law enforcement is here, or back, or however you want to say it. Look I’m just going to get this out of the way now: “RoboCop” 2014 or Robo2.0 is Not a straight retelling of the classic 80’s Paul Verhoeven flick. It’s just not, and it never tries to be. I am a child of the 80’s. I grew up with big hair, loud music, questionable fashion trends, and bigger than life action movie heroes. When the original “RoboCop” hit it was like a surge of lightning to the industry. Youngins like myself loved the over the top violence and tongue in cheek satire, while completely missing the subtext and biting social commentary about inequality, corporate greed, consumerism, and drug use. Okay, maybe not that last one. Verhoeven’s film was about America at that time. Okay let’s get the basics out the way for »
Directed by Paul Verhoeven
Based on a Philip K. Dick short story (We Can Remember It for You Wholesale), Total Recall is set in a futuristic society, where “it has become scientifically possible to implant fake memories into a person’s mind, while erasing their previous identity, thus creating a fictitious persona in such that the subject believes he or she is someone else.” The filmmakers took great liberty with the original story, but, luckily Dan O’Bannon and Ronald Shusett (respected writers of some of the greatest science fiction films), whipped up one of the best produced Hollywood screenplays of the 1990′s.
Arnold Schwarzenegger stars as Quaid, a 21st-century construction worker in 2084 who discovers that his entire memory of the past derives from a memory chip implanted in his brain. In seeking out the truth, he »
- Ricky da Conceição
Based on a Philip K. Dick short story (We Can Remember It for You Wholesale), Total Recall is one of Arnold Schwarzenegger’s best films, and one of the best action films of the 1990′s. Under Paul Verhoeven’s frenetic direction, Total Recall is a fast-paced rush of violence, action, and humor that never, for a minute, slows down. The documentary Imagining Total Recall, goes behind-the-scenes with interviews of the film’s stars, director, writers and special effects team. Production designer William Sandell talks about the brutal conditions experienced while shooting in Mexico; Ron Shusett explains how he discovered Philip K. Dick before he was famous; Schwarzenegger describes Verhoeven’s frantic direction; and Verhoeven explains how the project almost went bankrupt. All this and so much more. Enjoy!
The post ‘Imagining ‘Total Recall’ – How Verhoeven and His Team Made the Film appeared first on Sound On Sight. »
Oh, RoboCop, it would have been so much easier if you were terrible. I couldn't help think that after leaving the theater last week, because no matter how skeptical I was of Jose Padilha's remake of Paul Verhoeven's brutal 1987 film (which, I admit, is one of my favorite movies), I had to admit that, well... it wasn't bad at all. In fact, the biggest problem I had with the film was that it just wasn't the RoboCop that I know. Given the general response from audiences – it's currently hovering around 50-percent approval on RottenTomatoes.com and 67-percent approval on MetaCritic – my own, uncertain feelings about the film seem to echo the general consensus, too. And after talking about it with a few fellow movie geeks and an enthusiastic...
- Rick Marshall
Directed by Jose Padilha
Depending on which side of the fence you reside on, 1987’s RoboCop is either a great footnote in cinema or it’s a pure junk pop cinematic experience. I tend to think it’s the latter. Yes, I love RoboCop mightly and you can’t argue that the movie didn’t nail what it set out to achieve, but like a lot of Paul Verhoeven’s films, there are moments where the word cringe comes into play. I guess that’s the beauty of Paul Verhoeven and for a stretch of time back in the day; there was no one like him. With this being the second Verhoeven film to get a remake (the first being the truly awful Total Recall remake), there was more than a fair share of people (including myself »
- Craig Dietz
With a passable but not outstanding box office haul last weekend, RoboCop's chances of getting a sequel may hinge on how well the film does overseas. In the meantime, we're faced with the question of whether or not the film needs a sequel. Do we want one? Would we see it? Gabe weighed in yesterday with his reasons for why the film shouldn't get a sequel, and I'm here to present the counterargument. I liked the new RoboCop and not only would I like to see a sequel, but I think we need one. One of the worst things Jose Padilha could have done with this remake would have been to try to retrace the footsteps of Paul Verhoeven's film. The 1987 movie was especially violent and the original concept was perfectly timed for the post-Terminator era. It was the 80s. Robots were cool and so were bloody-violent movies. »
Paul Verhoeven’s “RoboCop,” from 1987, was a singular work of pop art, blending together an intriguing sci-fi concept, biting satire, considerable action violence, social commentary and more. It sparked various sequels and spin-off properties and now, more than 15 years later, a reboot from respected Brazilian-born director José Padilha (“Bus 174,” “Elite Squad”) that uses the same basic conceit as a framework to explore the place of drones and militarized robotics in modern society. Taking over for Peter Weller is Joel Kinnaman, who stars as Detroit police officer Alex Murphy – rescued from death after a car bomb explosion and refashioned into the emotionally compromised title character. At a recent Los Angeles [ Read More ]
It doesn’t feature iPhones, Twitter, or an internet, and yet Paul Verhoeven’s RoboCop remains perhaps the most prescient sci-fi effort of the past 30 years -- a work from 1987 whose continuing relevance is matched by the fact that no one would dare make it today. Or, at least, remake it properly, since, minor virtues aside, José Padilha’s do-over completely misses the point of its predecessor, largely forgoing Verhoeven’s stinging social satire and proving clueless to the fact that it’s partaking in the very things the original sarcastically critiqued. See also: The Gent »
‘RoboCop’ 2014 movie: Full-fledged flop at domestic box office (photo: Joel Kinnaman in ‘RoboCop’ 2014) Directed by José Padilha, and starring Joel Kinnaman and Abbie Cornish, Sony Pictures’ $100 million-budgeted RoboCop 2014 remake opened with disappointing numbers on Wednesday, February 12, 2014. Things improved a bit over the weekend, but there’s no denying that RoboCop 2014 will become a major domestic box office bomb. (See also: José Padilha hates ‘RoboCop’ 2014 filmmaking process.) According to studio estimates found at Box Office Mojo, Padilha’s remake of Paul Verhoeven’s 1987 "classic" (as mentioned elsewhere on this site, just about anything made before 2003 is considered a classic these days) landed in third place this extended Presidents Day Weekend, February 14-17, trailing both Warner Bros.’ overwhelmingly well-received The Lego Movie and Sony Pictures / ScreenGems’ low-budget romantic comedy About Last Night. Directed by Phil Lord and Chris Miller (Cloudy with a Chance of Meatballs, 21 Jump Street), and featuring the voices of Chris Pratt, »
- Zac Gille
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