3 items from 2014
Miami - One of the pleasures of smaller film festivals, where one's viewing is less dutifully structured around competitions and mandatory big-name premieres, is pick-and-mix scheduling -- selecting the day's viewing on a mixture of gut instinct and chance convenience, and seeing what unexpected patterns and conflicts emerge. Coincidentally enough, I wound up seeing two Brazilian films back to back yesterday -- not such an improbable occurrence in a festival programme that accommodates Latin-American markets so generously, but their wildly contrasting impressions of urban social malaise and personal distrust proved mutually enhancing. Mexico and Germany were selected by the Miami programmers for dedicated showcases this year; on yesterday's evidence, however, Brazilian film is fighting fit. There's a fierce, Pablo Trapero-like sense of purpose to "A Wolf at the Door," a jumpy, pile-driving directorial debut for Fernando Coimbra that seems a gateway to more illustrious things -- as plausibly within »
- Guy Lodge
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 »
If anyone was under the impression that Paul Verhoeven’s 1987 “RoboCop” was a vision of the future, Jose Padilha’s pumped-up, cleaned-up update makes it clear that this sci-fi concept merely holds a mirror to the political present. Shifting the prime target of its satire from corporate greed to post-9/11 jingoism, this well-cast, smarter-than-expected remake repairs much of the damage done to the iron-fisted lawman’s reputation by meat-headed sequels and spinoffs; it’s a less playful enterprise than the original, but meets the era’s darker demands for action reboots with machine-tooled efficiency and a hint of soul. The new model should capitalize on a dearth of equivalent genre fare in theaters, without automatically activating a franchise relaunch.
The once-mooted prospect of a Darren Aronofsky-directed “RoboCop” was certainly tantalizing, but producers Eric Newman and Marc Abraham were wise to secure Brazilian adrenaline-monger Padilha (best known for his hard-edged »
- Guy Lodge
3 items from 2014
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