We get the best of both worlds. Onboard computer assisted memory and a lifetime of on the street law enforcement programming. The big bonus, though, is that this is the first Blu-ray release (that I’m aware of) to carry both the director’s cut and a theatrical cut of the film; MGM’s disc only provided the director’s cut. The director’s cut can be found on the first disc while the theatrical cut can be found on the second disc. The only notable difference between the two is that the director’s cut features more gore, which had to be cut out to avoid an X rating when it was originally submitted to the MPAA, which would have limited its distribution. life in the streets, where real cops risk their lives to protect a struggling populace that, to the I also enjoyed the next feature, a 13-minute feature about the film’s analog photographic effects, featuring effects artists Peter Koran and Kevin Kutchaver. After the two explain how they met as kids and how they shared a love for Ray Harryhausen’s work they then talk about their accomplishments on RoboCop, which involved creating video effects like “Robo Vision” (the interlaced point-of-view shots for RoboCop), the news breaks, and more. Criterion did cover this aspect a bit in their release, the MGM not-so-much, and while these effects may not be as sexy as the stop-motion effects that were covered more in the supplements on previous releases it’s still fascinating and it’s incredible how well this aspect of the film has held up so well over the years. As you would hope, detail is better rendered now. Edges are smoother and more clearly delineated. Costumes reveal more texture, as do wounds. There is more depth to the image because it is sharper and less cluttered with artefacts. Robocop striding out of the inferno at the gas station and the entire sequence in the drug factory certainly seem to exhibit more dimensionality than before. Looking out across the main hall in the precinct house also shows a considerable gain in depth, and fine detail retained in the furthermost recesses of the image. And the fantastic Forbidden Planet-like views up and down the glass and chrome elevator shafts in the OCP building.

Arrow Video’s Limited Edition and Steelbook 4K Ultra HD releases of RoboCop give the film plenty of added value with a bevy of bonus materials and a great transfer. Besides a couple of missing extras, the breadth and quality of this release is worthy of an upgrade. It’s about as definitive as RoboCop gets on home video. Highly recommended!During the car chase, when Clarence's henchman Bobby is shot in the leg, the R-rated version shows a long shot, while the unrated has a gruesome close-up of Bobby's leg being shot.

Chris Evans' Dog Adorably Interrupts His Interview With 'The View': "He Needs To Be The Center Of Attention" The censorship of the ED-209 scene torpedoes Verhoevens initial intention. the scene was deliberately planned as comically exaggerated to get some laughs out of the audience with the "Somebody want to call a paramedic?" line - the dark humor is watered down in the edited version, as Verhoeven criticizes himself in the audio commentary. During Murphys execution an interesting dolly camera pan was cut along with the gory head shot where an elaborate Peter Weller dummy designed by SFX expert Rob Bottin had been used. Director's Cut Production Footage, raw dailies from the filming of the unrated gore scenes, presented in 4K (SDR) 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.

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Ok, i’m biased - Robocop was one of the first 18/R rated films that I ever saw, and has remained in my personal top 10 all-time favourite movies ever since. A defining moment in 80 cinema, the movie is a timeless classic of action and gore while philosophising what it is to be human, even if that humanity has supposedly been stripped away.

Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger and Robert Townson 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!"Paul Verhoeven was considered a cutting edge filmmaker when RoboCop was originally released. With a line up that includes Flesh + Blood, Total Recall, Basic Instinct, and Starship Troopers, it’s difficult to argue with that. A terrific visualist with a penchant for over-the-top violence, he also nailed the action and science fiction genres over the head, while at the same time putting his own personal stamp on his work. It’s also difficult to overlook the satire running throughout RoboCop, particularly with the local newscasts, the commercials in between, and the generic TV show containing the famous catchphrase "I’d buy that for a dollar!"

For those of us like myself who fear brisk jogs and other types of exercise, Stephen King’s The Long Walk might be his most terrifying yet. An entire story about maintaining a 4-mile-per-hour walking pace or else. King’s latest adaptation has been in talks for a good while now. Today, Deadline reports that Constantine director, Francis Lawrence is now attached to direct King’s The Long Walk. Casting Old Detroit, a newly filmed interview with casting director Julie Selzer on how the film's ensemble cast was assembledArchive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film) The View's Sunny Hostin Suggests Trump Is Using Racist "Dog Whistles" When He Confuses Biden And Obama: "That's What's Happening" For this UHD edition, Arrow Video ports over the same outstanding collection of supplements as their 2019 Blu-ray release and spread across both UHD discs.