list http://www.spout.com/ Recent community activity around Robocop on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Robocop/29186/default.aspx Title: Robocop
Year: 1987
Director: Paul Verhoeven
Plot: Paul Verhoeven's American breakthrough film Robocop is an exceedingly violent blend of black comedy, science fiction, and crime thriller. Set in Detroit sometime in the near-future, the film is about a policeman (Peter Weller) killed in the line of duty, who the department decides to resurrect as a half-human, half-robot supercop. The robocop is indestructible, and within a matter of weeks he has removed crime from the streets of Detroit. However, his human side is tortured by his past, and he wants revenge on the thugs who killed him. The film was later followed by two feature-length sequels and a live-action television series, neither of which were as successful as the original film ~ Stephen Thomas Erlewine, All Movie Guide
Times Tagged: 12
Number of Lists: 55
Number of blog posts: 9
Number of discussion threads: 7
SpoutRating: 3
]]>Fri, 15 May 2009 17:41:54 GMTRobocop1987Paul VerhoevenPaul Verhoeven's American breakthrough film Robocop is an exceedingly violent blend of black comedy, science fiction, and crime thriller. Set in Detroit sometime in the near-future, the film is about a policeman (<a href="/players/P____75401/default.aspx" style='text-decoration:underline'>Peter Weller</a>) killed in the line of duty, who the department decides to resurrect as a half-human, half-robot supercop. The robocop is indestructible, and within a matter of weeks he has removed crime from the streets of Detroit. However, his human side is tortured by his past, and he wants revenge on the thugs who killed him. The film was later followed by two feature-length sequels and a live-action television series, neither of which were as successful as the original film ~ Stephen Thomas Erlewine, All Movie Guide12Tag Target (>10)55973http://www.spout.com/ProductImages/u45911j9a8e.jpghttp://www.spout.com/films/Robocop/29186/default.aspxFilm http://www.spout.com/blogs/the_mow/archive/2009/5/7/42191.aspx Post By: The_MOW
Post To: The_MOW Blog
Post Date: 5/7/2009 11:50:27 PM
Body: New Detroit police officer "Alex Murphy" (Peter Weller) has been tranfered to a precinct in one of the most violent parts of town after the on-duty death of another cop. During the hunt for wanted criminals in their hideout, an abandoned factory, "Murphy" is shot and killed. Upon his death, the "Omni Consumer Products (OCP)" obtain his body and intergrate it with the most advanced technology available to create a crime-fighting cyborg codenamed "RoboCop". Eventually, humanity overwrites programming, as "RoboCop" begins to remember his former life as he continues to fight crime. He also has to deal with the possibility of being replaced by a non-cyborg machine as a replacement, which is strongly supported by a high-ranking OCP executive. The first things you will notice about this is the graphic violence, the special effects and the sometimes oddly placed fake television commercials. You will also notice the pretty strong performances from the main cast. If you are not into bloody movies, then this one is not for you. The bloody scenes are few, but are very graphic. The make-up and other special effects are used very well in these scenes. Like I said before, the main cast put forth good performances. Some of the characters seem to be written better than others though, which may be a reason that there are some weak performances by some of the cast that make them a bit campy at times. The special effects, except for the previously mentioned make-up effects, still hold up for the most part, possibly due to them being fairly simple. One special effect that does not hold up well is the "ED-209" robot that is competing with "RoboCop" for the job as the ultimate police officer. It is very obvious that it not only added into scenes in post-production, the animation of it is pretty bad. As it moves, the figure becomes blurry. It appears that the animation of the "ED-209" is one of the things that they used to cut corners on the budget. When it comes to wardrobe, nothing really stands out and looks more like it belongs in the 1980s than in the "near future". The one piece of "wardrobe" that stands out more than others is the "RoboCop" costume worn by Weller. Mixed with make-up effects, it is one of the most memorable pieces of costuming in movies. Except for the "ED-209" and some of the performances, there really isn't any cons in this movie. Paul Verhoeven directed his first American movie very nicely. To the point that it has become a cult classic.
]]>Fri, 08 May 2009 03:50:27 GMTThe_MOWThe_MOW Blog5/7/2009 11:50:27 PMNew Detroit police officer "Alex Murphy" (Peter Weller) has been tranfered to a precinct in one of the most violent parts of town after the on-duty death of another cop. During the hunt for wanted criminals in their hideout, an abandoned factory, "Murphy" is shot and killed. Upon his death, the "Omni Consumer Products (OCP)" obtain his body and intergrate it with the most advanced technology available to create a crime-fighting cyborg codenamed "RoboCop". Eventually, humanity overwrites programming, as "RoboCop" begins to remember his former life as he continues to fight crime. He also has to deal with the possibility of being replaced by a non-cyborg machine as a replacement, which is strongly supported by a high-ranking OCP executive. The first things you will notice about this is the graphic violence, the special effects and the sometimes oddly placed fake television commercials. You will also notice the pretty strong performances from the main cast. If you are not into bloody movies, then this one is not for you. The bloody scenes are few, but are very graphic. The make-up and other special effects are used very well in these scenes. Like I said before, the main cast put forth good performances. Some of the characters seem to be written better than others though, which may be a reason that there are some weak performances by some of the cast that make them a bit campy at times. The special effects, except for the previously mentioned make-up effects, still hold up for the most part, possibly due to them being fairly simple. One special effect that does not hold up well is the "ED-209" robot that is competing with "RoboCop" for the job as the ultimate police officer. It is very obvious that it not only added into scenes in post-production, the animation of it is pretty bad. As it moves, the figure becomes blurry. It appears that the animation of the "ED-209" is one of the things that they used to cut corners on the budget. When it comes to wardrobe, nothing really stands out and looks more like it belongs in the 1980s than in the "near future". The one piece of "wardrobe" that stands out more than others is the "RoboCop" costume worn by Weller. Mixed with make-up effects, it is one of the most memorable pieces of costuming in movies. Except for the "ED-209" and some of the performances, there really isn't any cons in this movie. Paul Verhoeven directed his first American movie very nicely. To the point that it has become a cult classic. http://www.spout.com/blogs/spoutblog/archive/2008/12/12/38311.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/12/2008 3:00:58 PM
Body: After nearly four years of YouTube, I’ve had enough of abridged movies. You know, where a user edits together only the necessary plot points of a film for a video called “(movie title) in 60 seconds.” But I must make an exception for the British rap duo The Anomalies. Those guys (DJ Mayhem and MC Mouthmaster Murff, specifically) know how to do condensed classics right. By rapping the plot synopsis. Earlier this year, they released an abridged version of Predator with rhymed narration. It was pretty funny. Now, they’ve come out an even better rap for RoboCop. It’s longer, it has a steadier rhythm and it utilizes the film’s dialogue far better than the Predator rap did. Plus, it’s so comprehensive at 10 minutes that I wonder why the film ever needed to be 102 minutes. Seriously, are there any necessary scenes excluded? Too bad it takes 9 months for the guys to make something so brilliant. I’m anxious to see what movie they tackle next. Fortunately, I could watch this video over and over and over to tide me over. Check it out for yourself after the jump, and be warned that it features the film’s very NSFW language. [via Topless Robot] Originally posted on:SpoutBlog
]]>Fri, 12 Dec 2008 20:00:58 GMTSpoutBlogSpoutBlog on spout.com12/12/2008 3:00:58 PMAfter nearly four years of YouTube, I’ve had enough of abridged movies. You know, where a user edits together only the necessary plot points of a film for a video called “(movie title) in 60 seconds.” But I must make an exception for the British rap duo The Anomalies. Those guys (DJ Mayhem and MC Mouthmaster Murff, specifically) know how to do condensed classics right. By rapping the plot synopsis. Earlier this year, they released an abridged version of Predator with rhymed narration. It was pretty funny. Now, they’ve come out an even better rap for RoboCop. It’s longer, it has a steadier rhythm and it utilizes the film’s dialogue far better than the Predator rap did. Plus, it’s so comprehensive at 10 minutes that I wonder why the film ever needed to be 102 minutes. Seriously, are there any necessary scenes excluded? Too bad it takes 9 months for the guys to make something so brilliant. I’m anxious to see what movie they tackle next. Fortunately, I could watch this video over and over and over to tide me over. Check it out for yourself after the jump, and be warned that it features the film’s very NSFW language. [via Topless Robot] Originally posted on:SpoutBlog http://www.spout.com/blogs/atacta/archive/2008/11/28/37720.aspx Post By: atacta
Post To: atacta Blog
Post Date: 11/28/2008 4:10:27 PM
Body: Paul Verhoeven - 2006On the heels of Starship Troopers I ventured through this and it took me three nights to do so because of various distractions. My feelings are that this is certainly his premier film, his 6th feature after RoboCop (filmed in my home town of Dallas). It is interesting to see (and perhaps poll?) directors' finest efforts six to seven films in. Watch the "making of." Verhoeven has an irresistable love of the medium and the energy of a first time director.The female leads in the film are outstanding. Carice van Houten and Halina Reign brilliantly capture the desperate attempt to stay alive using sexuality and male manipulation. In this sense, Verhoeven gives Camille Paglia a run for her money and solidifies himself as a Dutch feminist.The production value of the second act is weak and is the only hint at the relatively small budget that Verhoeven had on the picture – it does play like a weak Sunday night television thriller.This stands among the best of Holocaust films. It is on par with http://www.imdb.com/title/tt0077025/ and better than Schindler’s List. Its a thiller that stands above all Verhoeven’s previous work. I think it’s the film that he was meant to make. Again, watch the "making of." His lead stars agree with me.**** / ***** Starship Troopers (1997) Robocop (1987)
]]>Fri, 28 Nov 2008 21:10:27 GMTatactaatacta Blog11/28/2008 4:10:27 PMPaul Verhoeven - 2006On the heels of Starship Troopers I ventured through this and it took me three nights to do so because of various distractions. My feelings are that this is certainly his premier film, his 6th feature after RoboCop (filmed in my home town of Dallas). It is interesting to see (and perhaps poll?) directors' finest efforts six to seven films in. Watch the "making of." Verhoeven has an irresistable love of the medium and the energy of a first time director.The female leads in the film are outstanding. Carice van Houten and Halina Reign brilliantly capture the desperate attempt to stay alive using sexuality and male manipulation. In this sense, Verhoeven gives Camille Paglia a run for her money and solidifies himself as a Dutch feminist.The production value of the second act is weak and is the only hint at the relatively small budget that Verhoeven had on the picture &ndash; it does play like a weak Sunday night television thriller.This stands among the best of Holocaust films. It is on par with http://www.imdb.com/title/tt0077025/ and better than Schindler&rsquo;s List. Its a thiller that stands above all Verhoeven&rsquo;s previous work. I think it&rsquo;s the film that he was meant to make. Again, watch the "making of." His lead stars agree with me.**** / ***** Starship Troopers (1997) Robocop (1987) http://www.spout.com/blogs/spoutblog/archive/2008/11/25/37652.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/25/2008 7:01:15 PM
Body: Catherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 00:01:15 GMTSpoutBlogSpoutBlog on spout.com11/25/2008 7:01:15 PMCatherine Hardwicke hit one out of the park for female directors this past weekend, but she had a lot of help. Not only was she working with a pre-sold property, she also had a very manageable budget of $37 million. Quite different from the $2 million she had to work with on Thirteen a few years back. Of course, she had similar budgets on Lords of Dogtown ($25 million) and The Nativity Story ($35 million), and both were box office disappointments. Still, she’s going to keep on being trusted with more money — if Summit is smart they’ll keep her on for at least the first Twilight sequel, which will surely come with a higher price tag — and as long as she continues with genre films, she’s sure to remain a profitable director. Not every talented filmmaker does well with more money. Danny Boyle, for instance, typically bombs with bigger budgets. And a lot of foreign auteurs strike out when handed costly studio-produced genre or franchise pics (Jeunet’s Alien Resurrection is a favorite example). But there’s the occasional filmmaker who, like Steven Soderbergh or Christopher Nolan, can make something worthwhile out of any budget they’re allotted. And then there are the many indie filmmakers who quickly find themselves at home with modestly priced broad comedies, such as the case with Seth Gordon easily transitioning from the Slamdance doc The King of Kong to the star-studded Hollywood holiday pic Four Christmases, out this week. Who will be the next small-scale filmmaker to successfully rise up and prove him or herself worthy of bigger budgets? SpoutBlog has selected five directors we’d like to see given an economic boost, each because he or she would likely deliver something more interesting and popular than the usual Hollywood product. James Marsh (Man on Wire; The King) He recently gave us one of the most entertaining documentaries of all time (Man on Wire), and it’s likely that he could also give us an equally entertaining blockbuster of some kind. His best gateway would be a big deal crime caper, along the lines of Soderbergh’s Ocean’s series or even the more modestly priced The Bank Job. He pretty much already showed he could shoot a riveting heist film with his re-enactment scenes in Man on Wire. Maybe he can also hold on to the French angle by helming one of those Melville or Dassin films that are always being announced and never actually being made. Marsh’s follow-up to Man on Wire will be a relatively small British crime drama (one-third of Channel 4’s series of David Peace adaptations), but afterward he needs to be heavily wooed by the American studios. Larry Fessenden (Wendigo; The Last Winter) He makes some of the most interesting “horror” films around (people sometimes call them “art horror”), but they’d be even better with a little extra cash to spend on special effects. His last two films kind of lose their heat in their third acts, when the cheaply constructed monsters and ghosts appear. But had The Last Winter cost $5 million instead of $50,000, it might have grossed $33 million domestically rather than $33,000. And its not like Hollywood wouldn’t be into Fessenden’s pro-nature plots. If they can give Roland Emmerich more than a hundred million for The Day After Tomorrow, they can give a guy like Fessenden less than $10 and actually get a smarter, more entertaining genre flick. Shane Carruth (Primer) He gave us one of the biggest mindf*cks in the history of cinema with his 2004 Sundance-winning sci-fi film Primer, but he hasn’t really been heard from since. According to Wikipedia, he’s been planning his follow-up for the past two years and is ready to start on the financing, so here’s an idea: Hollywood should get on that. If this former engineer has spent that long working out the details of his next project, it’s likely to be smarter than most of the speedily scripted science fiction released by the studios. And it’s certainly time for an intelligent blockbuster dealing with time travel or space travel or something else in that vein. Sure, Darren Aronofsky went from math-nerd sci-fi (Pi) to a big-budget disappointment (The Fountain), but now he’s coming back strong with The Wrestler and is set to helm a RoboCop remake next. Carruth could have a similar career without the bomb in the middle if one studio hands him just a fraction of what they gave Aronofsky. Anything’s going to be an increase over Primer’s $7,000 budget. Gregg Araki (The Doom Generation; Mysterious Skin; Smiley Face) His most recent movie, the stoner comedy Smiley Face, should have been given the same size push as The Pineapple Express, which interestingly enough proved that indie darling David Gordon Green could be trusted with bigger budgets. Unfortunately, Araki continues to be a mere cult favorite. But he’s not necessarily a Hal Hartley or John Waters; he can break out if given the chance to. The world is just waiting for him to become the missing link between Judd Apatow and Gus Van Sant. Or is a bisexual filmmaker not the most perfect person to handle the ever-increasing-in-popularity bromantic comedies? Helen Hunt (Then She Found Me) This actress-turned-filmmaker could be the 21st century Nora Ephron if only Hollywood believed that women could want something a little less cheesy than Sleepless in Seattle. Too bad movies like Sex and the City and Twilight are showing us female audiences actually prefer things even cheesier. But even a slight increase on Then She Found Me’s $3.5 million budget could give Hunt the ability to deliver a thoughtful cross between romantic comedy and Hallmark melodrama that might just elevate the tastes of moviegoers, or at least attract more intelligent women to the multiplex. Originally posted on:SpoutBlog http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_November_24_Cyborgs_Androids/625/37590/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 11/24/2008 4:27:43 PM
Body: Focusing on robots is entirely too immense for a single week, so therefore I have dedicated this week's theme to that subset of mechanical beings that strive to be like those humans that created them. I'm talking the humanoids; the mechanical freaks that sometimes look too human for their own good and need to be destroyed for just that reason. Who doesn't love the android C-3PO in Star Wars? How about the sexbots in Austin Powers: International Man of Mystery? And of course that loveable visor wearing badass Robocop! Let's get talkin'!
]]>Mon, 24 Nov 2008 21:27:43 GMTmercurialWeekly Theme11/24/2008 4:27:43 PMFocusing on robots is entirely too immense for a single week, so therefore I have dedicated this week's theme to that subset of mechanical beings that strive to be like those humans that created them. I'm talking the humanoids; the mechanical freaks that sometimes look too human for their own good and need to be destroyed for just that reason. Who doesn't love the android C-3PO in Star Wars? How about the sexbots in Austin Powers: International Man of Mystery? And of course that loveable visor wearing badass Robocop! Let's get talkin'! http://www.spout.com/groups/sci_fi/Re_Movies_about_the_future/4/37520/1/ShowPost.aspx Post By: Ungowa
Post To: sci-fi
Post Date: 11/20/2008 9:23:09 PM
Body: [quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gee What I would not give for a time machine! I sure would like to correct some mistakes! But if not a Time Machine how about a Transporter? Beats the hell out of sitting in traffic or on planes
]]>Fri, 21 Nov 2008 02:23:09 GMTUngowasci-fi11/20/2008 9:23:09 PM[quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gee What I would not give for a time machine! I sure would like to correct some mistakes! But if not a Time Machine how about a Transporter? Beats the hell out of sitting in traffic or on planes http://www.spout.com/groups/sci_fi/Re_Movies_about_the_future/4/37511/1/ShowPost.aspx Post By: Risselada
Post To: sci-fi
Post Date: 11/20/2008 4:57:48 PM
Body: [quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gattaca A Clockwork Orange 2001: A Space Odyssey Akira Brazil of course Death Race 2000 and Blade Runner is only about 10 years away. Does anyone know when Flash Gordon was supposed to take place??
]]>Thu, 20 Nov 2008 21:57:48 GMTRisseladasci-fi11/20/2008 4:57:48 PM[quote user="csprague"] Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. [/quote] Gattaca A Clockwork Orange 2001: A Space Odyssey Akira Brazil of course Death Race 2000 and Blade Runner is only about 10 years away. Does anyone know when Flash Gordon was supposed to take place?? http://www.spout.com/groups/sci_fi/Movies_about_the_future/4/37497/1/ShowPost.aspx Post By: csprague
Post To: sci-fi
Post Date: 11/20/2008 2:58:05 PM
Body: Isn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now.
]]>Thu, 20 Nov 2008 19:58:05 GMTcspraguesci-fi11/20/2008 2:58:05 PMIsn't it hilarious when old movies take place in the not so distant future of 2008 and it's this weird messed up world filled with people wearing clothes mostly made out of rubber and pleather? I was trying to come up with a list, but am mostly blanking right now. Was Judge Dredd one? or maybe it was Robocop. Anyway, what are a few of your favorite movies or scenes that take place in the future? Also (sub question), any cool future gadgets? I was really amazed by the microwave in Back to the Future II that made a little thing into a huge, hot pizza. I was convinced we would have those by now. http://www.spout.com/blogs/owtkast/archive/2008/10/2/35802.aspx Post By: owtkast
Post To: owtkast Blog
Post Date: 10/2/2008 2:11:54 AM
Body: Some people will think this is just the average 80's action movie; in my opinion, it's a lot more than that. It makes a statement about modern society, by presenting a horrifying look into a future that maybe isn't as distant as you'd like to believe it is. The very essence of RoboCop himself(or itself) is a perfect cop, but with almost no human emotion; and that's what the government wants in a perfect cop, at least in this movie. Apart from the perfect future cop, this movie also has a few visions of the future of advertising, the future of buying a house, the future in board games, the future in pretty much everything that exist in or modern world today. Paul Verhoeven has a very interesting science fiction future world view, and he presents it very well in this movie, just as he presents a future war in Starship Troopers; whereas that's about waging war, this is about the modern police force, the police of tomorrow. Even if you don't care about the future view presented in this movie, give it a try; it's got great action too, some of the best for an 80's action movie.
]]>Thu, 02 Oct 2008 06:11:54 GMTowtkastowtkast Blog10/2/2008 2:11:54 AM Some people will think this is just the average 80's action movie; in my opinion, it's a lot more than that. It makes a statement about modern society, by presenting a horrifying look into a future that maybe isn't as distant as you'd like to believe it is. The very essence of RoboCop himself(or itself) is a perfect cop, but with almost no human emotion; and that's what the government wants in a perfect cop, at least in this movie. Apart from the perfect future cop, this movie also has a few visions of the future of advertising, the future of buying a house, the future in board games, the future in pretty much everything that exist in or modern world today. Paul Verhoeven has a very interesting science fiction future world view, and he presents it very well in this movie, just as he presents a future war in Starship Troopers; whereas that's about waging war, this is about the modern police force, the police of tomorrow. Even if you don't care about the future view presented in this movie, give it a try; it's got great action too, some of the best for an 80's action movie. http://www.spout.com/blogs/spoutblog/archive/2008/8/13/33965.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/13/2008 3:01:08 PM
Body: From what I hear, Star Wars: The Clone Wars is really bad. Bad enough for the king of the fanboys, Harry Knowles, to reportedly write, “I hated the film. HATED IT. REALLY HATED IT.” Bad enough that Warner Bros. had the review removed from Aint it Cool News due to a review embargo — though probably it had more to do with it being so damaging to the studio’s marketing of the film (apparently Warners had no issue with Variety publishing its so-so review on the same day). I’m not in the least bit surprised. Most people I know who used to be big Star Wars fans won’t be bothering to see the film. But if it bombs at the box office this weekend, what will that mean for Lucasfilm’s upcoming Clone Wars animated series, which is set to spin off from the movie? The show will probably do OK, thanks to the few geeks who still worship the franchise, but it’s not likely to make my list of best animated series spun off from movies: Muppet Babies - The cute infant versions of Kermit, Miss Piggy, Fozzie and (most of) the others officially debuted in The Muppets Take Manhattan, so this cartoon series counts. Even though my brother disagrees (”the Muppets are a whole entity outside of the movies”). And it’s so good that I’d almost say it’s the best Muppet project ever. It’s at least better than the movie it spun off from. Plus, it was especially entertaining for movie fans. Long before Family Guy did it, the Muppet Babies had their own brilliant animated take on the Star Wars films. Star Wars: Droids - When I was a kid, I definitely preferred the cuter, longer-running Star Wars: Ewoks (both cartoons were later united as Ewoks & Droids Adventure Hour), but looking back, Droids was the cooler series because it retained Anthony Daniels as the voice of C-3PO (R2-D2 was humorously credited as himself) and featured characters like Boba Fett and IG-88. As a bonus, it also featured an awesome theme song co-written and performed by Stewart Copeland. The only theme that might top it is the Fat Boys’ rap for Police Academy: The Series. Back to the Future - I’m a sucker for cartoon spin-offs that feature voices from the original movies, and this one had both Mary Steenburgen (Clara Brown) and Thomas F. Wilson (Biff Tannen) reprising their roles. Strangely enough, the animated Doc Brown was voiced by Dan Castellaneta (also the voice of Homer Simpson), while the live-action Doc Brown, who introduced and closed each episode, was actually played by the movies’ Christopher Lloyd. Someone please put this show on DVD already. Bill & Ted’s Excellent Adventures - Even better than BTTF, this cartoon initially featured the voices of the three original stars of Bill & Ted’s Excellent Adventure, Keanu Reeves, Alex Winter and George Carlin. Unfortunately, the bogus second season of the series screwed everything up with a different production company (DiC instead of Hanna-Barbera), new actors (Evan Richards and Christopher Kennedy, stars of the live-action Bill & Ted series) and a broader premise (the dudes could now travel into literature, TV shows and the human body). At least for awhile, the series was most triumphant. Beetlejuice - Talk about changing the premise. I don’t know what the creators were thinking when they decided to suddenly make Beetlejuice and Lydia best friends, but somehow it works. And, as much as I’d have loved for Winona Ryder to reprise her role, I’m glad Lydia was voiced by one of my favorites, Alyson Court (Jubilee in X-Men: The Animated Series and Veronica in The New Archies). I don’t understand how it really fits with the plot of Tim Burton’s movie anymore than I get why Daniel and Mr Miyagi were suddenly adventurers in the Karate Kid cartoon, but I was at least a big fan of the imaginative Netherworld setting of the Beetlejuice series. The Real Ghostbusters - Like Beetlejuice, this animated version of Ghostbusters turned enemies into friends by making Slimer a cute mascot. In fact, the series was eventually retitled Slimer! and the Real Ghostbusters because of how kids responded to the green guy, with Slimer receiving his own half-hour storylines. This despite the initial attraction of the series having a darker tone than most Saturday morning cartoons. TaleSpin - Forget all the later Disney cartoon series based on animated features, this was the best and most inspired. Maybe because it’s another example in which the premise of the series is completely different than the premise of the films. Aside from starring the characters Baloo, Louie and Shere Khan, it has nothing at all to do with The Jungle Book. And except for the lack of songs performed by Louis Prima, the series is much cooler than the movie. She-Ra: Princess of Power - I’m counting this even though the movie it’s spun off from, The Secret of the Sword, is also the first four episodes of the series. It was released theatrically, though. Besides, including it on the list means I don’t have to choose a best of the three lame Jim Carrey movie spin offs (The Mask; Dumb and Dumber; Ace Ventura), nor do I have to familiarize myself with The Animatrix, which I’m sure has it’s fans, or attempt to justify the cool in theory but terrible in reality Teen Wolf cartoon. Toxic Crusaders - Among all the R-rated movies that were turned into cartoons for kids — including First Blood (Rambo), Highlander, RoboCop and Police Academy – the decision to make an animated series out of The Toxic Avenger is the most questionable and therefore the most ingenious. I doubt something like this could be created today; we kids of the ’80s were just more exposed to inappropriate material and also had room for more sanitized versions. I saw the original, extremely violent movie when I was 8 years old and would have also loved this cartoon back then, despite it’s lack of head-crushings and nudity. Unfortunately, it didn’t debut until I was in my teens, when I was typically sleeping in on Saturday mornings and napping on weekday afternoons. Clerks - I’ve honestly never seen this cartoon, but I have a good reason to include it. While taking a film studies course titled American Film Comedy in college, I had a classmate who literally finished each session — having just watched The Circus, The General, Sherlock Jr., Duck Soup, The Palm Beach Story, It, Trouble in Paradise, Mr. Deeds Goes to Town, His Girl Friday, It Should Happen to You, Tootsie or some other classic — by saying, in all seriousness, “I guess I don’t have the right sense of humor for these movies. I prefer smart comedies like Chasing Amy.” A devout Kevin Smith fan, he also continuously would reference the animated Clerks series, despite the fact that nobody else seemed to have any familiarity with it. For a cartoon spin-off to so completely appease the biggest fan of the movie, it has to be considered a success. Originally posted on:SpoutBlog
]]>Wed, 13 Aug 2008 19:01:08 GMTSpoutBlogSpoutBlog on spout.com8/13/2008 3:01:08 PM From what I hear, Star Wars: The Clone Wars is really bad. Bad enough for the king of the fanboys, Harry Knowles, to reportedly write, “I hated the film. HATED IT. REALLY HATED IT.” Bad enough that Warner Bros. had the review removed from Aint it Cool News due to a review embargo — though probably it had more to do with it being so damaging to the studio’s marketing of the film (apparently Warners had no issue with Variety publishing its so-so review on the same day). I’m not in the least bit surprised. Most people I know who used to be big Star Wars fans won’t be bothering to see the film. But if it bombs at the box office this weekend, what will that mean for Lucasfilm’s upcoming Clone Wars animated series, which is set to spin off from the movie? The show will probably do OK, thanks to the few geeks who still worship the franchise, but it’s not likely to make my list of best animated series spun off from movies: Muppet Babies - The cute infant versions of Kermit, Miss Piggy, Fozzie and (most of) the others officially debuted in The Muppets Take Manhattan, so this cartoon series counts. Even though my brother disagrees (”the Muppets are a whole entity outside of the movies”). And it’s so good that I’d almost say it’s the best Muppet project ever. It’s at least better than the movie it spun off from. Plus, it was especially entertaining for movie fans. Long before Family Guy did it, the Muppet Babies had their own brilliant animated take on the Star Wars films. Star Wars: Droids - When I was a kid, I definitely preferred the cuter, longer-running Star Wars: Ewoks (both cartoons were later united as Ewoks & Droids Adventure Hour), but looking back, Droids was the cooler series because it retained Anthony Daniels as the voice of C-3PO (R2-D2 was humorously credited as himself) and featured characters like Boba Fett and IG-88. As a bonus, it also featured an awesome theme song co-written and performed by Stewart Copeland. The only theme that might top it is the Fat Boys’ rap for Police Academy: The Series. Back to the Future - I’m a sucker for cartoon spin-offs that feature voices from the original movies, and this one had both Mary Steenburgen (Clara Brown) and Thomas F. Wilson (Biff Tannen) reprising their roles. Strangely enough, the animated Doc Brown was voiced by Dan Castellaneta (also the voice of Homer Simpson), while the live-action Doc Brown, who introduced and closed each episode, was actually played by the movies’ Christopher Lloyd. Someone please put this show on DVD already. Bill & Ted’s Excellent Adventures - Even better than BTTF, this cartoon initially featured the voices of the three original stars of Bill & Ted’s Excellent Adventure, Keanu Reeves, Alex Winter and George Carlin. Unfortunately, the bogus second season of the series screwed everything up with a different production company (DiC instead of Hanna-Barbera), new actors (Evan Richards and Christopher Kennedy, stars of the live-action Bill & Ted series) and a broader premise (the dudes could now travel into literature, TV shows and the human body). At least for awhile, the series was most triumphant. Beetlejuice - Talk about changing the premise. I don’t know what the creators were thinking when they decided to suddenly make Beetlejuice and Lydia best friends, but somehow it works. And, as much as I’d have loved for Winona Ryder to reprise her role, I’m glad Lydia was voiced by one of my favorites, Alyson Court (Jubilee in X-Men: The Animated Series and Veronica in The New Archies). I don’t understand how it really fits with the plot of Tim Burton’s movie anymore than I get why Daniel and Mr Miyagi were suddenly adventurers in the Karate Kid cartoon, but I was at least a big fan of the imaginative Netherworld setting of the Beetlejuice series. The Real Ghostbusters - Like Beetlejuice, this animated version of Ghostbusters turned enemies into friends by making Slimer a cute mascot. In fact, the series was eventually retitled Slimer! and the Real Ghostbusters because of how kids responded to the green guy, with Slimer receiving his own half-hour storylines. This despite the initial attraction of the series having a darker tone than most Saturday morning cartoons. TaleSpin - Forget all the later Disney cartoon series based on animated features, this was the best and most inspired. Maybe because it’s another example in which the premise of the series is completely different than the premise of the films. Aside from starring the characters Baloo, Louie and Shere Khan, it has nothing at all to do with The Jungle Book. And except for the lack of songs performed by Louis Prima, the series is much cooler than the movie. She-Ra: Princess of Power - I’m counting this even though the movie it’s spun off from, The Secret of the Sword, is also the first four episodes of the series. It was released theatrically, though. Besides, including it on the list means I don’t have to choose a best of the three lame Jim Carrey movie spin offs (The Mask; Dumb and Dumber; Ace Ventura), nor do I have to familiarize myself with The Animatrix, which I’m sure has it’s fans, or attempt to justify the cool in theory but terrible in reality Teen Wolf cartoon. Toxic Crusaders - Among all the R-rated movies that were turned into cartoons for kids — including First Blood (Rambo), Highlander, RoboCop and Police Academy – the decision to make an animated series out of The Toxic Avenger is the most questionable and therefore the most ingenious. I doubt something like this could be created today; we kids of the ’80s were just more exposed to inappropriate material and also had room for more sanitized versions. I saw the original, extremely violent movie when I was 8 years old and would have also loved this cartoon back then, despite it’s lack of head-crushings and nudity. Unfortunately, it didn’t debut until I was in my teens, when I was typically sleeping in on Saturday mornings and napping on weekday afternoons. Clerks - I’ve honestly never seen this cartoon, but I have a good reason to include it. While taking a film studies course titled American Film Comedy in college, I had a classmate who literally finished each session — having just watched The Circus, The General, Sherlock Jr., Duck Soup, The Palm Beach Story, It, Trouble in Paradise, Mr. Deeds Goes to Town, His Girl Friday, It Should Happen to You, Tootsie or some other classic — by saying, in all seriousness, “I guess I don’t have the right sense of humor for these movies. I prefer smart comedies like Chasing Amy.” A devout Kevin Smith fan, he also continuously would reference the animated Clerks series, despite the fact that nobody else seemed to have any familiarity with it. For a cartoon spin-off to so completely appease the biggest fan of the movie, it has to be considered a success. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/awesome/MemberTagFilms.aspxawesome
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