102 minutes
Selected cast credits · Film reference
Producer credits not yet identified.
Roger Ebert gave RoboCop three stars out of four.
The ED-209 boardroom demonstration wins; the police-station arrival, Murphy execution, first-patrol television and rescues, Bob Morton apartment, cocaine factory, toxic-waste Emil, and ending are alternatives.
Murphy’s brutal execution is the main moment when the movie goes up a notch, with several later violent escalations.
RoboCop returning to Murphy’s former house is the suggested break, though the memories matter to the ending.
A drug lord carrying estate Cabernet around the cocaine house is the inaugural example.
Leza Gibbons wins Most 1987, ahead of stop-motion ED-209, street thugs, television-store windows, and falling backward from buildings.
The politics, dual villains, media satire, SUX commercial, Peter Weller’s committed suit performance, and a remarkable 1987 theater lineup age best.
RoboCop’s organic food paste wins.
RoboCop’s expanding alley-wall shadow during the rescue wins.
No existing needle drop wins; the panel argues the nightclub fight needed a stronger 1980s song.
Dick Jones wins Best Character Name.
RoboCock is the immediate parody title.
RoboCop open-mouthed in the factory chair wins Most GIFable Moment.
A warehouse half-court basketball game for Clarence’s gang is proposed.
The movie being too short and its unexplored Murphy-family story are the weak links.
The sequels and 2014 remake, police strikes, a WCW RoboCop tie-in, suit-production conflict, and Clarence Boddicker’s name age worst.
ED-209 wins for its helpless reaction after falling down the stairs; Bob Morton is the human candidate.
The final Dick Jones puppet fall nearly makes the movie choke away its technical achievement; Kyle Brandt as RoboCop is the other hot take.
Peter Weller ultimately won the role after a long search; the discussion covers many alternate Murphy, Lewis, and Boddicker choices.
Ray Wise wins over Paul McCrane; Alan Graff receives a background-actor salute.
Ed 209 wins, with the “buy that for a dollar” performer as the alternative.
A Wes Anderson RoboCop is proposed.
Craig argues RoboCop is slow, inflexible, easy to escape, and only about an 82 in Madden terms.
Peter Weller answering only to Robo or Murphy on set wins.
Research covers the costly suit, writers, Dallas locations, Nixon promotion, killer cop names, set incidents, ratings fight, Ford Tauruses, VHS success, and Leza Gibbons.
Peter Weller, Detroit’s early-1990s sports era, Ronnie Cox, and Miguel Ferrer receive apex support; other candidates are rejected or debated.
Tom Cruise is chosen over Tom Hanks as RoboCop.
Martin Scorsese is chosen because the film’s hard-R violence and cocaine scenes fit him better.
Philip Seymour Hoffman is cast as a scene-stealing laboratory worker or Mr. Kinney.
The nitpicks target ED-209’s live ammunition and stairs, Murphy’s tactics and family gaps, RoboCop’s exposed jaw, and Boddicker walking freely into OCP.
More sequels and remakes are rejected; a video game is the preferred extension.
The imagined Gus Johnson call of RoboCop’s alley rescue wins over Mike Breen and Peter Schrager alternatives.
Sound effects is the choice, matching the film’s stated Oscar win.
The panel asks when the story occurs and whether Bob Morton engineered Murphy’s transfer; the transfer theory is treated as answerable.
The Nuke ’Em home game and RoboCop’s mask are selected.
You can kill someone but cannot take their humanity; weapons demonstrations should use blanks.
Paul Verhoeven wins; the villains’ personalities and the movie’s satire reinforce the choice.
