Back in the chair for Upod we have a varied episode, covering a multitude of films.
Heavy duty stuff to begin with as Asim and Martin have been watching documentaries. Utopia, the latest from John Pilger, takes its name from a region of Australia’s Northern Territories. Home to many aborigines the reality is that Utopia is far from being that for the indigenous population and in the eyes of the film maker, is proof that apartheid is sadly alive in a modern, prosperous, 21st century democracy. The good vibes continue with Martin’s documentary, How to Survive a Plague. It tells the story of how the gay community in New York fought back against the lack of HIV & AIDS healthcare provision in the face of people dying in their droves. How to Survive a Plague is notable not only for the story it tells, but also for its almost exclusive use of archive and library footage. Two absolutely affecting films that are well worth watching.
Lightening the mood somewhat, we then talk about the two current sequel movies – Thor 2 and Hunger Games 2. No, of course they won’t be up for Oscars but bloody hell they are good fun and perhaps more importantly, build on the first instalments. Let’s be honest, it wouldn’t be difficult to better the first Hunger Games.
The main event and provided by someone close to Upod’s hearts, is Clear History. The HBO produced and Larry David written movie takes us into familiar Larry territory, but is there more to this than an extended episode of Curb Your Enthusiasm? We talk you through most, but not all of the huge cast (Michael Keaton, where have you been all these years?) and a few of the gags. The transition from the small to the big screen is not easy pull off, but if anyone can accept the challenge, it’s of course Larry David…looking like a cross between a hippy and a caveman.
We know all the cool kids have been complaining high and low about big bad Hollywood remaking Paul Verhoeven classic Robocop but as usual Upodcast has a different point of view and is kinda excited!
Here is the new trailer and a new poster.
There are some key elements that are different from the original, we are especially missing the crucifixion scene and other Christ allegories.
But still it’s great to see Michael Keaton back on screen.
In RoboCop, the year is 2028 and multinational conglomerate OmniCorp is at the center of robot technology. Their drones are winning American wars around the globe and now they want to bring this technology to the home front. Alex Murphy (Kinnaman) is a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit. After he is critically injured in the line of duty, OmniCorp utilizes their remarkable science of robotics to save Alex’s life. He returns to the streets of his beloved city with amazing new abilities, but with issues a regular man has never had to face before.
RoboCop, stars Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish and Samuel L Jackson. Directed by José Padilha, RoboCop is released on February 7th 2014.
The long-awaited (?) Robocop re-vamp has finally come to life with this trailer for the 2014 release of Paul Verhoeven‘s mid-80s sci-fi cult classic. 25 years or so really is a long time, so we can’t begrudge a re-make on these terms (unlike say, Spiderman). But the original, much like Total Recall, is held in such high regard that it does beg the question of whether audiences need the remake at all.
At first glance, this looks great – clearly so much more can be done with a budget these days – so there won’t be that old-fashioned feel to the movie. And secondly, the cast is of course impressive: Samuel L Jackson, Gary Oldman, Michael Keaton, Abbie Cornish and even Miguel Ferrer. I’d watch it just because of Michael Keaton – a criminally under-used actor.
But what of the rest of the take-home from this trailer? A couple of things stand out for me right away: the more prominent role of the family and that he seems to know he’s human rather than robot, the inverse of the original where he has to figure out he is in fact human. Quite how these will affect the story, we can only speculate. There is also scope for comment on the military-industrial complex using machines in place of men. You only have to look at the recent wars in Afghanistan and Pakistan to know how real drones are and how much their use could increase in the future. How much this theme will be addressed may well have changed since the director gave a very positive interview back at the end of 2011. We can only hope he has retained a lot of control over his movie. Perhaps these will give the film a new dimension and give us something the original didn’t. On a basic level, I have to say I’m disappointed with him being painted black and riding a motorbike. But in the interests of a fair and balanced report, silver Robocop did end up looking pretty awful in some of the merch.
Oh and the retractable visor really ought to have been a no-no from the very start – what were they thinking? Director Jose Padhila, has form in the police sphere, having given us the Elite Squad movies. Both address police corruption, incompetence and bureaucracy (not that Robocop didn’t), so the omens are good. Possibly lacking however, will be a social commentary. The charm of the first is that there is more to it than meets the eye, lending itself to repeat viewings and making it so enduring.
This ad for the 6000SUX still makes me laugh.
I think it’s important to ask what a remake really can bring to the table – regardless of what is being re-made. Possibly not a fair comparison, but I’ll point out that operas / stage plays are typically only ever “revived”, not entirely re-worked. Sure the setting may change (e.g. Coriolinus a few years ago) and new directors and producers will bring their own touch, highlighting say one characteristic over another, but if Mozart wrote the music it won’t be replaced with a new score and if Noel Coward wrote the play there won’t be new dialogue added. So perhaps there is something to be learned from this. And maybe, just maybe, with such a great movie as Robocop, we could have had a restored print and Blu-Ray release on its 25th anniversary, celebrated with a “revival” on screen and in cinemas nationwide. Now I’d buy that for a dollar!