RoboCop: Prime Directives (2000)

TV Mini-Series  -   -  Action | Crime | Sci-Fi
4.7
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Reviews: 35 user | 9 critic

Thirteen years after the original Robocop, Delta City, considered to be "The Safest Place On Earth!", has become a futuristic city owned and operated by OCP, and RoboCop, Alex Murphy has ... See full summary »

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Title: RoboCop: Prime Directives (2000– )

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1 win & 1 nomination. See more awards »

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Cast

Series cast summary:
Page Fletcher ...
 Alex J. Murphy / ... (4 episodes, 2001)
...
 John Terrence Cable / ... (4 episodes, 2001)
...
 Sara Cable (4 episodes, 2001)
...
 James Murphy (4 episodes, 2001)
...
 Damian Lowe (4 episodes, 2001)
David Fraser ...
 Ed Hobley (4 episodes, 2001)
...
 David Kaydick / ... (3 episodes, 2001)
...
 Ann R. Key (3 episodes, 2001)
Rebeka Coles-Budrys ...
 Jordan (3 episodes, 2001)
Marni Thompson ...
 Abby Normal (2 episodes, 2001)
...
 Lexx Icon (2 episodes, 2001)
...
 Albert Bixler / ... (2 episodes, 2001)
...
 The Old Woman (CEO) (2 episodes, 2001)
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Storyline

Thirteen years after the original Robocop, Delta City, considered to be "The Safest Place On Earth!", has become a futuristic city owned and operated by OCP, and RoboCop, Alex Murphy has begun to feel his age. Murphy finds himself nearly obsolete, and must deal with the fact that his now-grown son James is an OCP executive, unaware that his father is still alive. Also, Murphy's former partner, John Cable, has returned to Delta City as its new Security Commander. But slowly, new enemies arise, and Murphy and Cable begin an investigation into a mysterious villain known as the Bone Machine, unaware that they are coming dangerously close to exposing an evil group of OCP executives known as The Trust... which James Murphy is a part of. Desperate to prevent their sinister plans from being revealed, The Trust programs Murphy to kill John Cable... Written by Kevin Riley

Plot Summary | Add Synopsis

Genres:

Action | Crime | Sci-Fi

Motion Picture Rating (MPAA)

Rated R for some violence | See all certifications »
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Details

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Release Date:

16 July 2001 (USA)  »

Also Known As:

RoboCop: Prime Directives - Crash and Burn  »

Filming Locations:


Box Office

Budget:

$8,000,000 (estimated)
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1.78 : 1
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Did You Know?

Trivia

Page Fletcher was originally offered the role of 'Alex J. Murphy/RoboCop' in RoboCop (1994) but turned it down due to a recent falling out with television producers in previous series and other TV work. See more »

Goofs

At the end of the second part, Meltdown, this quote is given: "The danger of the past was that men became slaves. The danger of the future is that man may become robots." The film credits it to Thoreau, which is impossible, as the word "robot" did not enter the English language until more than sixty years after Thoreau's death. This quote is actually from Erich Fromm. See more »

Quotes

[Alex Murphy and John Cable are playing chess, Murphy laughs at Cable's move]
John Cable: What?
[Murphy makes his move]
John Cable: What the hell is that?
Alex Murphy: That's the hell I got you beat your next move.
John Cable: [grinning] Sure you do.
[Cable makes his move]
Alex Murphy: [frowning] Now what the hell is that?
John Cable: That's the hell checkmate... partner.
See more »

Connections

Follows RoboCop 2 (1990) See more »

Frequently Asked Questions

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User Reviews

 
Prime Dissatisfactions
6 May 2001 | by (Los Angeles, CA) – See all my reviews

On the first two RoboCop feature films, the producers hired renowned mime artist and choreographer Moni Yakim to help Peter Weller, who played the title role in those pictures, get a handle on the role's intense physicality, and the investment paid off handsomely. On "Prime Directives," however, apparently such expenditures were deemed superfluous and eliminated from the budget. Yet, considering that RoboCop is the miniseries' main character, the character needing to be lavished with the most attention--especially with regard to issues of movement and ambulation, so as to ensure precise execution and verisimilitude--such an oversight on director Julian Grant's part is simply beyond the pale. The sad result: Page Fletcher, who plays RoboCop in "PD," spends most of his time stumbling and bumbling about in the RoboSuit, fists eternally and inexplicably clenched, wildly swinging his arms to and fro in a bizarre echo of Rock'em Sock'em Robots, and walking as if there were a warm, freshly laid dump permanently ensconced in his RoboDrawers.

To add insult to injury, RoboCop's makeup FX in "PD" really leave something to be desired. They are so bad, in fact, that the RoboHelmet-less Fletcher looks like Mandy Patinkin from "Alien Nation," replete with what appears to be a shopworn Tupperware bowl spray-painted a drab gray and hastily slapped onto the back of Fletcher's ridiculously enlarged noggin. What's worse, as the miniseries goes on, Fletcher's RoboSuit seems to fit him less and less snugly. At one point, when RoboCop visits his own gravesite, the suit's chin-guard seems to be floating independently from the rest of the RoboHelmet, careening away from Fletcher's jaw by several maddening inches.

Furthermore, those who are familiar with Julian Grant's decidedly unimpressive B-movie oeuvre (most especially the utterly dreadful direct-to-video "Airborne") know all too well his pronounced limitations as an action filmmaker. Grant fancies himself an ace action director, in the mold of George ("Mad Max") Miller and James ("The Terminator") Cameron. However, unlike those esteemed cinematic kineticists, Grant has absolutely no sense of timing or geography when it comes to arranging action set pieces. To be perfectly candid, his "style," as it were, is actually more in line with that of an unadorned hack like Roger ("Battlefield Earth") Christian. Grant's action scenes go on and on and on, in a way that oscillates between being boringly redundant and spatially confusing. Grant will repeat the same information time and again, such as having a procession of nameless, faceless bad guys meet repetitive, cookie-cutter deaths at the hands (or rather guns) of the good guys, and all the while within settings where it's difficult to tell where the bad guys are positioned at and/or coming from with respect to the good guys.

The verdict: 2 out of 4 stars.


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