Robocop: Director's Cut [Blu-ray]

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Sadly the sequels couldn't maintain quality, but in their own ways, they still manage to entertain. I admittedly am a RoboCop 2 defender and RoboCop 3 is a hoot in a so-bad-it's-amazing sort of way.I have a lot of love for this franchise. I've always hoped for another proper entry but after the earnest but less than amazing remake and Neil Blomkamp's recent departure from what was reported as a proper sequel to this original - I fear we'll never get something with this level of amazing detail, humor, and ultra-violence. At least not anything that stands alongside this original's quality. But that's okay - nothing can take away from this film's imprint on popular culture - and my childhood! However, beyond this, the score sounds, in the main, terrific. It grinds and sizzles and blasts and pummels as it should do, and it’s more emotional moments still sting. Narcissistic" Matt Rife Faces More Controversy After Assuming People Hate Him Because They’re "Jealous" In Resurfaced Clip King has had a long run of adaptations as of late. And right when you think that we are out of material from the prolific writer, someone brings another of his stories to the screen. I’m still most excited about someone directing The Library Policeman personally. That story still sends chills up my spine.I won’t run down the rest of the extras found on both discs. You can revisit my earlier review to see everything, since Arrow didn’t commission anything new for this set. Suffice it to say that there’s an enormous amount of bonus content found here, with a big batch of new extras that were created for the 2019 release along with a lot of legacy content that was ported over too. Arrow then digs up a Q&A from 2012, featuring Verhoeven, actors Peter Weller and Nancy Allen, writers Ed Neumeier and Michael Miner, and associate producer Phil Tippett, with moderation performed by Robert Rosen. There is discussion around the production that we’ve heard elsewhere, and Weller talks about the difficulties around make-up and the costume that he mentions in other features that appear on here later, but there are some unique comments in here. There’s more information around another draft of the script, for example, written to accommodate a request from Verhoeven to introduce an affair between the characters of Murphy and Lewis before he realized it was an awful idea, and a question is asked about what Neumeier’s and Miner’s sequel would have been like. The video runs 43-minutes.

For home cinemas first a Laserdisc and the a DVD from Criterion containing the DC were released. Both releases are long since out of print - but fortunately the DC has been released on several DVD as well as on Blu-ray by now. life in the streets, where real cops risk their lives to protect a struggling populace that, to therestoration of the Director’s Cut from the original camera negative by MGM, transferred in 2013 and approved by director Paul Verhoeven Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 and Dolby Atmos surround sound options on both cuts

The MPAA especially did not approve of the gory presentation of the prototype ED-209 and Murphys execution. the bloodiest shots were cut out of the first scene and a lot of alternative footage was used in the other - only the DC shows Murphy loosing an arm in the gunfire. On top of that, alternative footage has been used for the car chase at the beginning as well as in the finale. In 1995, The Criterion Collection premiered the 'unrated' edition of RoboCop on LaserDisc. The 1987 theatrical release was cut in several scenes to attain an R-rating, and this unrated version restored that footage. The unrated version has subsequently been used for many of the film's DVD and Blu-Ray releases. RoboCop: Creating a Legend, Villains of Old Detroit and Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast and crewArchive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director's Cut)