What was the last movie you've seen?

[Sano]

Red and Live Free or Die Hard

[Hobie-wan]

New RoboCop Remake Trailer:

Nope.

Too much changed plotwise it seems, trailer gives too much away, voice sounds wimpy, No trace of any humor in that trailer. Nope nope nope.

[Luke]

I'll see it, but it looks terrible.

First, despite an amazing supporting cast, it look like a straight to SyFy movie. The effects look worse than the last Total Recall.

Secondly, I don't think the writers know the character. It's about Robocop finding his humanity, not his free will. This is a dude who knows he's a dude in a robot suit. That's dumb. There's no conflict of "Murphy...It's you".

And as Hobie mentioned, no humor.

Well, no humor intended but I did laugh my ass off when Robo's wife said "You need to talk to your son". I hope there is a sequence when Robo's wife says "You've been working too hard lately, and did you know you missed both of Jimmie's little league games this week?".

[prfsnl_gmr]

Riddick is pulling in solid reviews from respected critics:

http://movies.nytimes.com/2013/09/06/mo ... .html?_r=0

http://variety.com/2013/film/reviews/fi ... 200597570/

http://www.avclub.com/articles/riddick,102519/

I am now even more excited to see this movie.

.....

Also, a Robocop film without the dark comedy, satire, and social commentary is pointless. See Robocop 2, Robocop 3.

[Luke]

Also, a Robocop film without the dark comedy, satire, and social commentary is pointless. See Robocop 2, Robocop 3.

We'll have to wait and see, but it looks like any humor and homages will be forced. If Robocop is the one who delivers "I'll buy that...for a dollar" I'll leave the theater while shouting "BOOOOOOOOOOOOOOOO!" like the random lady in The Princess Bride.

[Gunstar Green]

New RoboCop Remake Trailer:

http://www.youtube.com/watch?v=INmtQXUXez8

Looks awesome! I'm gonna be seeing this one. The original is one of my favorites.

"Dead or alive, you're coming with me."

Sorry about the poor video quality, I didn't see any better on YouTube.

I'm not usually the type of person to have a knee-jerk reaction to changes in remakes but that legitimately depressed me.

It looks just as pointless and forgettable as the Total Recall remake.

One of the greatest parts and greatest horrors of the original Robocop was that the audience were the ones who said, "My god, what have you done to him?" Having Murphy be aware of it himself kind of takes away the impact and cheapens his struggle to regain humanity.

Now he's just another, "I have incredible powers and I'm angsty about it," character that is getting pretty freaking old in these super hero type stories.

Being controlled by the directives might still make for an interesting story, but as of now I've got low hopes.

But yeah the suit looks sort of okay when it's silver. I don't like its cyber-ninja black paint job.

[Ack]

I'd say "classic" Westerns ended at the end of the 1960s, specifically with The Wild Bunch announcing their telos.

That's not to say that there weren't Westerns later that riffed on classic motifs in interesting ways, but the classic period from roughly 1939 (Stagecoach) to 1969 (Wild Bunch) is where Westerns had their "classic" period or "golden age", if you will.

I don't know, I'd say we should include some of the post-Wild Bunch evolution as part of the classics, if only for showing how much the genre changed or for providing it with its swan songs. The Outlaw Josey Wales, Little Big Man, El Topo, High Plains Drifter, Jeremiah Johnson, and The Shootist all come to mind as classics of the Western genre in the 1970s, and they point to an evolution of ideas for what the Western can represent as well as the end of the old guard.

The genre evolved in the 1970s, but here's a few reasons why I think we should include the decade (or at least up through 1976) in the "classic" period:

John Wayne's final film, The Shootist, was released in 1976.

Clint Eastwood largely moved away from the genre in the 1970s but still appeared in Joe Kidd, High Plains Drifter, and The Outlaw Josey Wales.

Sam Peckinpah's career petered out in the 1970s, but he still managed to make The Ballad of Cable Hogue and Pat Garrett and Billy the Kid after The Wild Bunch.

Howard Hawks' final film was post-Wild Bunch, Rio Lobo, starring John Wayne.

Though his career really ended in the late 1960s, John Ford died in 1973.

Sergio Leone worked on Duck, You Sucker!, My Name is Nobody, and A Genius, Two Partners and a Dupe.

[Jrecee]

I think it looks pretty decent. I'm glad they changed the story up, otherwise why remake it at all? As far as the humor, if it's in there, it's not something they would show in the trailer anyway. I don't really know what people want out of the movie. It was obviously not going to be as good as the original no matter what they did, but it looks like a passable action/sci-fi flick with a fun cast, which is all it could have ever hoped to be.

[dsheinem]

I'd say "classic" Westerns ended at the end of the 1960s, specifically with The Wild Bunch announcing their telos.

That's not to say that there weren't Westerns later that riffed on classic motifs in interesting ways, but the classic period from roughly 1939 (Stagecoach) to 1969 (Wild Bunch) is where Westerns had their "classic" period or "golden age", if you will.

I don't know, I'd say we should include some of the post-Wild Bunch evolution as part of the classics, if only for showing how much the genre changed or for providing it with its swan songs. The Outlaw Josey Wales, Little Big Man, El Topo, High Plains Drifter, Jeremiah Johnson, and The Shootist all come to mind as classics of the Western genre in the 1970s, and they point to an evolution of ideas for what the Western can represent as well as the end of the old guard.

The genre evolved in the 1970s, but here's a few reasons why I think we should include the decade (or at least up through 1976) in the "classic" period:

John Wayne's final film, The Shootist, was released in 1976.

Clint Eastwood largely moved away from the genre in the 1970s but still appeared in Joe Kidd, High Plains Drifter, and The Outlaw Josey Wales.

Sam Peckinpah's career petered out in the 1970s, but he still managed to make The Ballad of Cable Hogue and Pat Garrett and Billy the Kid after The Wild Bunch.

Howard Hawks' final film was post-Wild Bunch, Rio Lobo, starring John Wayne.

Though his career really ended in the late 1960s, John Ford died in 1973.

Sergio Leone worked on Duck, You Sucker!, My Name is Nobody, and A Genius, Two Partners and a Dupe.

See, I see almost all of those films you listed as being films that riffed on classic motifs, rather than films that established them. I think the classic period of the Western was basically almost dead before Leone's Dollars trilogy, but those films suggested something novel - a different edge - that didn't appear in stuff before and that, subsequently, that "edge" also became part of the Western film genre in earnest. I don't feel that 70s Wayne/Eastwood films helped establish anything that hadn't been established previously. El Topo (which I just recently finally saw) is an interesting experiment and a great example of surrealist film, but it didn't really "give" anything to the Western genre that actually stuck with it.

tldr: I like plenty of 70s Westerns, but none of them help define the genre.

[Hobie-wan]

I don't really know what people want out of the movie.

For the idea of a remake not to have left who ever's fevered brain it escaped from.