Summary Capsule
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Alas, like many icons traversing sequels, our cybernetic buddy lived just long enough to take a honking nose-dive into crap. Despite legendary comic book writer Frank Miller's involvement, RoboCop 2 divided fans by its ultra-extreme violence and heavy-handed crudity, and RoboCop 3 fared even worse. Now, I'm a lightweight fan of RoboCop 2 — it's a passable action flick with some pretty memorable scenes (the brain/eyes in the jar sticks with me, even when important phone numbers desert my noggin). But I have to bail on the third installment, which tests more than just patience as it skulks about. Before it even released in '93, red flags abounded like happy hour at a NASCAR speedway. Peter Weller turned down the option to return for it, Frank Miller's script was watered down past recognition, and the rating for the series dipped from "R" to "PG-13" for the first time. This last move is pure cowardice on behalf of the studios — PG-13 is well-known for being the demographic sweet spot, but I'd argue that certain movie series should never, ever lower its standards from an "R". Similar to Alien vs. Predator, RoboCop 3 cashes in its trademark violence and edge for something a lot safer — and a lot more dull. The audiences agreed, and everyone pretty much avoided Robo's last adventure on the big screen. A second sequel is not the time to suddenly start shopping around for family values; stick true, or go home. It takes 16 boring minutes for RoboCop to finally show up, and 88 boring minutes follow after that. Despite the return of many series regulars (like Ann Lewis, the police sarge, and the one corporate flunky), everyone seems to know that they're just making RoboCop-lite, and acts accordingly. Instead of a gritty Detroit ghetto, it's more like an untested sitcom locale for a blue collar working family with a mild police party theme. Instead of a hard-line RoboCop who lived to shoot would-be rapists in the crotch, he now would much rather fire at cars and watch radiators burst. Also? Cliché #455 arrives to cause our eyes to twitch uncontrollably: the cute precocious computer genius kid who will, during the course of the movie, save the day at least three times. Yes, RoboCop 3 gets its very own Wesley Crusher. Brief moments are all the fanservice we get: robotic assassins who can make goofy faces, a jetpack and weapon arm for Robo, and… um… look! A cute precocious computer genius kid! Ain't she adorable? I honestly don't know what the filmmakers were trying to do here, but none of this retains a tenth of the excitement or satiric wit of the original. So we here at MRFH now bury our fellow cybercop, fire off a 21-nerf gun salute, and somehow go on with our lives.
Is It Worth Staying Through End Credits?
Intermission! [some sources: IMDb]
At least two of the characters in RoboCop 3 are based on Frank Miller's own comic-book creations. Otomo, the cyborg samurai, is a nod to his 'Ronin' comic about a masterless samurai whose spirit is reanimated with futuristic biotechnology. Bertha Washington (CCH Pounder), a freedom fighter in the film, is a reference to Martha Washington, the freedom fighter from Miller's "Give Me Liberty". Filmed in Atlanta — most of the abandoned buildings seen in the film were slated for demolition to make way for facilities for the 1996 Olympics. Nancy Allen only agreed to reprise her role as Ann Lewis if her character were to be killed off in the first half of the film. Groovy Quotes
Robocop: My friends call me Murphy. You call me... Robocop.
Paul McDaggett: How may I help you, officer?
Robocop: Don't count on it, chum. Bixby Snyder: I'll buy that for a dollar! If you liked this movie, try these:
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