I remember in 1991, when I was visiting a friend and he showed me the Robocop movies (there were only two at the time, of course)–I’m tempted to go on a tangent about when one could still show someone movies… you kind of lose that opportunity with adulthood, then you just get to recommend. Anyway, after watching the two films, I commented the villains were better in the first one. He responded, “You read that in a review.” And now I’m writing it in one.
There are three major problems with Robocop 2. First, the villains. They aren’t as good, even though many of them are well-acted by their performers. It’s actually a cheap list item, because it so directly relates to the second major problem. Robocop 2 has little to do with Robocop. There are attempts to give Robocop a story in the film, but they stop pretending after a while, during the long sequences he’s off-screen all together. Robocop 2 is more about the bad guys than the hero, who’s possible journey is knee-capped in the first fifteen or twenty minutes. Robocop’s an inherently tragic figure–he’s the hero who never gets a reward–and the film would rather ignore him than deal with him.
The third problem has, big shock, a lot to do with the first two problems. Nothing really happens for the first hour. Nothing really good anyway. The first hour is spent engineering the second hour, allowing for the scenes to take place. Obviously, a plot complicates and a plot progresses, but Robocop 2’s script is pretty incompetent in terms of plotting. The lousy villains are also the script’s fault, specifically Frank Miller’s, who’s done enough work (and had his original script adapted to a comic book) to have the blame easily assigned. I’m not sure if it’s his fault Robocop 2 isn’t about Robocop… it might have something more to do with the first film being incapable of providing an easy sequel.
Now for the good. Irvin Kershner is a sturdy director. He doesn’t get to really shine until the big action ending–when it’s a mix of Kershner’s direction, Phil Tippett’s unbelievably wonderful stop motion, and Leonard Rosenman’s score. The film also takes forever to have any action scenes of merit–script’s fault–with most of the early ones being boring, unimaginative shootouts (contrived to progress the plot as conveniently as possible).
Peter Weller’s good as Robocop, though he’s got very little to do throughout the film. Nancy Allen kind of hangs out in a practical cameo (Patricia Charbonneau–in an uncredited performance–has more resonance). Tom Noonan’s good as the villain, Gabriel Damon’s good as the evil Frank Miller kid villain. The corporate villains, Belinda Bauer, Dan O’Herlihy, Jeff McCarthy and, in particular, Felton Perry, are all good.
The film has very little to do with the first one–it’s a sequel to the first film’s success, rather than the characters and their struggles in it–but it’s well-produced.
The grand action finale is amazing to see. Robocop 2 becomes a monster-on-the-loose movie all of a sudden and Kershner produces a great sequence. It’s also at night, one of the film’s few scenes at night… it really helps. In fact, it closes so well, one can almost (but not really) forget the first hour of the film.
Directed by Irvin Kershner; screenplay by Frank Miller and Walon Green, based on a story by Miller and characters created by Edward Neumeier and Michael Miner; director of photography, Mark Irwin; edited by Deborah Zeitman, Lee Smith and Armen Minasian; music by Leonard Rosenman; production designer, Peter Jamison; produced by Jon Davison; released by Orion Pictures.
Starring Peter Weller (RoboCop), Nancy Allen (Anne Lewis), Jeff McCarthy (Holzgang), Felton Perry (Donald Johnson), Daniel O’Herlihy (The Old Man), Belinda Bauer (Juliette Faxx), Tom Noonan (Cain), Gabriel Damon (Hob), Galyn Gorg (Angie), Mario Machado (Casey Wong), Leeza Gibbons (Jesse Perkins), Roger Aaron Brown (Whittaker), Mark Rolston (Stef), Willard Pugh (Mayor Kuzak), Robert DoQui (Sergeant Reed) and Stephen Lee (Duffy).