The concept of the whole story coincides with the current cyberpunk 2077 scene: technology companies will gradually replace the government, manipulate the media, and become the hegemon of the new world because of technology, money, and people's livelihood dependence. As long as they create a "hero" image that the masses are happy to see, they can become gods.
The Brazilian director José Padilla once directed two episodes of "Elite Force", and later relied on guiding Netflix to shine in the first season of "Drug Lords". His strength in this medium-sized commercial film can be described as all aspects, not only the pattern, rhythm, and conflict of the whole story, but also his intentions in performance and lens language.
In the middle of the story, a scene where Robocop goes home to visit his wife and children for the first time. It uses a soundtrack with music box elements and discordant melodies, and a panoramic shot that uses the extreme height difference between the father and son. After the transformation of the machine, it was separated from the family.
Joel Kinnaman's performance in this film is also very hierarchical. Although this is not a deep character, before he becomes Robocop, the protagonist Alex has two short scenes. The boss confronts the boss in the police station, and he goes home with his wife. Intimacy, in this most common drama that creates Tiehan's tenderness, you can feel the character's distinctive fullness compared to other police detectives of the same kind. If it hadn’t been for this movie, Joel’s image would almost have been stereotyped as a facial palsy in my mind because of Netflix’s "Dungeon".
In addition, the lineup of this play can also be called Zhongxing Pengyue. Although Gary Oldman played his best role, he tried to maintain decent performance in that aspect, and his inner ambivalence was condemned by his conscience. It was definitely fuller than his typical performance in Batman vs. Superman. many. This allows him to experience a sense of substitution that is almost like watching the protagonist suffer from every time he is facing Micheal Keaton, a shrewd businessman.
The TV host played by Samuel L. Jackson, who is loved by the people, is one of the biggest highlights of the film. First of all, his race adds a strong irony to this role as the mouthpiece of the media. Do you think being black means anti-discrimination pioneer? Do you think that the media that opposes the government must be the embodiment of justice? But they are all puppets of capital. In the final ending, it might be more interesting if he reversed his attack. Just like Fox News in reality, he still has to change sides in time to see that the allies are gone.
Not only the story, but the visual effects and action scenes are also very impressive. As a medium-sized science fiction film, the director obviously knows how to use it on the blade. Robocop's mechanical texture is very realistic from beginning to end, with a heavy metal weight. The only organic organization above (face, hand) does not show any traces of synthesis, unlike many Marvel movies today that are saving money and making a mess.
The shootout is also full of tactical thinking in creative design, and the last fight against the bipedal fighter takes full advantage of the difference in body shape, which is very interesting. Although it can be seen that every gun battle is thinking of ways to save money, it is short and savvy, but fortunately, it is scattered throughout the film, with a large amount, and excellent rhythm. It is not particularly enjoyable but it is not disappointing and boring.
In general, as a classic old IP that seems to be unable to play any tricks, I think this film is really amazing. Except for the final ending, which is too ideal and perfect, I really can't fault it. I don’t know why the box office and evaluation were so satisfactory at home and abroad, because there were not enough shocking big scenes? Or is it because the plot offends the arrogant American? This question is worthy of careful consideration
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