Showing posts with label Dystopias. Show all posts
Showing posts with label Dystopias. Show all posts

Sunday, December 17, 2023

Arnie and Jesse: Governors in Action




In 1999, wrestler and actor Jesse Ventura was elected for the office of governor of Minnesota.  He served one term in that office as the Reform candidate, but opted not to run for re-election.

In 2003, body builder and actor Arnold Schwarzenegger ran for governor of California as a Republican, after the recent governor, Grey Davis, was recalled.  He went on to be elected and serve for two more full  terms in the office.  He was limited by state constitution to two terms so could not run for a third term.

But this post is not about their lives as political candidates.

 


 

Prior to their political turns (and afterward) both men were Hollywood stars. And, though it may seem like there were more, the two only appeared together in two movies; One as allies (Predator) and one as enemies (The Running Man).  Both were essentially starring vehicles for Schwarzenegger, but Ventura also played a significant presence in them.

Action stars both, but Schwarzenegger had the bigger career (of course). Whether Ventura's acting career stagnated because of career choices or he just didn't have the cachet I can't say.  He did have some rather memorable excursions as a lead actor (including the title role in one of is first movies,  Abraxas, Guardian of the Universe) and a less than memorable role as the co-star with Rowdy Roddy Piper in a TV pilot (Tag Team), but his acting career was not on par with Schwarzenegger.





Predator (1987):

Unlike most action movies, this one doesn't waste time with a lot of build up to the action.  A mere 5 minutes into the film we are already on the way.  "Dutch" Schaefer (Schwarzenegger) and his crew of mercenaries for hire, which include Blain (Ventura), as well as "Poncho" (Richard Chaves) the explosives guy, Billy (Sonny Landham) a tracker, Rick (Shane Black) the radio operator, and Mac (Bill Duke) a machine gun expert are in the air on the way to the drop off.

 

The crew also includes an old friend of Dutch, Dillon (Carl weathers), who was instrumental in getting the mercenaries brought in on the rescue operation in the first place. The rescue, a recovery of some hostages who have been captured by some guerillas in a Central American jungle, is the primary job.

But while advancing to the stronghold where they are being held, the crew encounters some strange phenomena.  They find members of the piloting crew skinned alive and wonder why the guerillas would do such a thing. (Of course, it wasn't the guerillas that did it, but the crew doesn't know that yet.)

Of course, everything is not all it seems.  The capture of supposedly innocent civilians eventually turns out to be that the "civilians" were not so "innocent" as the crew was led to believe.  Upon arriving at the stronghold they blast away and while the crew is pretty accurate with their guns, apparently the guerillas couldn't hit the broad side of a barn with an atom bomb. 

If you know ANYTHING about this movie you probably know the line that Blain utters.after Poncho observes that he has been hit and is bleeding:

"I ain't got time to bleed."

(Side noteI Ain't Got Time to Bleed was also one of Ventura's political books, the title of which came from this movie.  Good book if you want to check it out.)

After the fire fight, and with all the hostages and the guerillas dead, the crew determines they need to high tail it out of there because more enemy forces are on their way.  Dillon insists that the one surviving member of the guerilla force, a female soldier, needs to be taken with them because she could give them away if left behind. (Always has to be a female who presents both a hazard and an enticement in these kinds of films, you know...) It turns out that the female becomes more useful in the long run, however.

Now we get to the meat of the story. Watching the proceedings is a mysterious character and the only way we know at the beginning that it is not necessarily human is we see it's POV, which is apparently some kind of helmet that lets it see the human and other figures as heat sources. 

 

 


 

The next hour or so of the movie involves the crew gradually coming to the realization that the hunters trying to get to them are not "HUNTERS" but one "HUNTER", and it ain't exactly human.  It turns out of course that it is the alien we see in the first minute of the movie being ejected from a spaceship flying past the Earth.  We are never really told why just one alien is landing, nor why it is in the jungle in the first place, or what it's ultimate objective is.  (Although if it's ultimate goal is the extermination of humans, it seems more logical it would initially land in some place like New York City or Los Angeles... wait until the sequel to get that scenario.)   

The predator begins taking out the crew one by one, and of course the final battle comes down to a one on one with Dutch (who else... it is a Schwarzenegger movie after all). My big complaint is that Blain goes way too early in the film. Not that I don't like Mac (or Billy or Dillon for that matter). Bill Duke, who plays Mac, is always  a treat when he gets enough screen time to be a presence. (see Car Wash for a real good Bill Duke performance. He is as intense there as he is here) And of course we all know Carl Weathers from his turns as Apollo Creed in the early Rocky  movies, so we know how good he can be .

The ultimate battle comes down to Dutch and the alien, and instead of the alien just blasting Dutch with one of his alien ray guns, they go mano a mano.

 


 

 

This was director John McTiernan's first major film.  You can get an insight into his future as a director of such well-remembered action films like the first two Die Hard films as well as The Hunt for Red October and  Last Action Hero.  He was also director of the remake of Rollerball in 2002, but the less said about that one the better...

Of course, as with most Schwarzenegger movies, this one made a profit.  And it even managed to get a nomination for an Oscar (for Best Visual Effects, but it lost to it's only competitor, Innerspace). It got mixed reviews on it's release, but that old standby for referencing reviews, Roger Ebert, gave it 3 stars.  It currently has an 80% rating on Rotten Tomatoes.  And audiences love it even today. Whether that's because of the story or just Schwarzenegger's biceps is the question. As an action movie and sci-fi movie fan I think it's entertaining although my rational mind still has those questions referenced above.

Schwarzenegger and Ventura were both pretty busy in 1986-87. After finishing filming this movie, they got together for another action film The Running Man.





The Running Man (1987):.

 The Running Man is loosely (heavy emphasis on the word "loosely") based on a Stephen King novel (published under what was then an unknown pen name of "Richard Bachman"). Note the cover of the first publication below: "In 2025...". Which means we are not far from this scenario, time-wise, and what with reality TV being what it is, we may not be that far away after all...


 

[A side note: In 1983, when the original novel hit the stands I was working on a paper route as a source of income.  One night, after throwing the paper, I stopped off to get something to drink at the local grocery store.  As was my custom whenever I was there I would browse the paperback book racks for something interesting.  And I bought a copy of this book. It remains in my possession even today. And without the obligatory "Stephen King writing as Richard Bachman" on the cover since it was still unknown that King was Bachman. (see image above)  It is probably the most valuable thing I own, since copies of the first edition can fetch about $100 or more]

The novel was pretty good. Now, the fact is that it was optioned for Hollywood BEFORE the revelation that Bachman was actually a King pen name. (I picked that tidbit up from listening to podcasts, so I don;t actually have a credible source to verify it.)  In all honesty I thought it would probably have never seen light of day as a potential Hollywood film if it hadn't turned out that Bachman was actually King.

The basic premise, a future world where the most popular TV show is a game show that pits contestants against a cast of hunters whose job it is to eliminate the contestant is still present. And that's about it. The rest of the film is entirely in the mind of the scriptwriters.  If you read the novel AND watch the movie you can decide who did a better job with the story. I recommend you do both.  Each is worth the effort individually, but doing both will enlighten you on the controversy that King has had with Hollywood productions of his works.

In the beginning of the film, Ben Richards (Schwarzenegger) is a police officer monitoring a riot on the streets. (In the book Richards is not a policeman, just an out of work guy looking to make some money).  The movie Richards is ordered to fire upon the rioters who are unarmed and just looking for food.  Did I mention this is a dystopian future?  Well, it is.  And in Hollywood that always means the government tries to rundown the common man. (i.e: the good guys are the innocent proletariat and the bad guys are the government, or at least the non-Liberal government, which is the personification of "evil" in the Hollywood world. Remember Ronald Reagan was in the Oval Office at the time)

Anyway Richards refuses the order and is taken prisoner by his fellow officers.  And said fellow officers complete the mission, that of stopping the riot by force. Flash forward a few months.  Richards was convicted and sent to prison as the person who fired on the unarmed civilians.  Yes, the same government that was trying to force him to kill the civilians made him the scapegoat for the crime.

After a successful escape from the prison (I just encapsulated a fantastic 10 minute sequence there, but the end result is his escape), Richards is out to track down and hook up with his brother to try to get out of the country.  Only in the interim of his prison time his brother was also arrested and made a prisoner.  At the brother's apartment instead of finding the brother he finds Amber (Maria Conchita Alonso). (Note: There is a part here that will make you sit up and say "huh"? Richards uses his brother's security code to enter the apartment, but it turns out that Amber has moved in.  She didn't change the security code?)

 


 

 

Richards takes Amber hostage in his attempt to escape the country, but things don't go as well as planned.  And as a result of his capture he is brought to Killian (Richard Dawson), the host of the nation's most popular TV show, The Running Man. Killian coerces Richards to become the next contestant on the show, the plot of which is that the contestant is sent out into a playing grid (essentially a neighborhood section of the city) with a hit man, called a Stalker,  sent to kill him. The cadre of Stalkers that could be sent after him are chosen by  a random member of the audience. The Stalkers are your basic video game fighting characters with their own special weapons and outfits. 

 


 

 

Killian of course, in keeping with the sleazy double dealing trope of the villain in these movies, has double-crossed Richards. He initially convinced Richards to play the game in place of two of his fellow prison escapees, but at the last minute Richards finds out that Killian is going to send his two compatriots into the playing grid, too. These two friends, played by Yaphet Kotto and Marvin McIntyre, become targets for the Stalkers as the game progresses. (It probably goes without saying that the two friends are eventually dead meat, but they do get a few chances to get their chops in.)

Back to the studio, the first Stalker to be sent out after the runners is chosen by a random member of the audience. And like any contestant who gets a front row spot on The Price is Right, she is overwhelmed to be on the same stage as Killian. So the first stalker sent out is Professor Subzero (Professor Toru Tanaka)

 


 

 

Meanwhile, on another front, Amber has discovered that the world is being given false information about Richards and takes it upon herself to try to find out the truth.  Conveniently she works for the TV station so she can access the files. And, of course, the TV station kept on file the actual footage of the real riot scene as well as the edited footage the public got to see that framed Richards. But she is got red-handed and becomes yet another runner in the grid. (Along with the edited footage show to viewers,  that promotes her as a whore, a conspirator and who knows what else, so the public can howl for her blood, too.) 

Back on the playing grid, it doesn't take long for the first victim to be eliminated from the competition. Unfortunately for Killian and the fans, the first victim is Subzero.  A shock in more ways than one because apparently a Stalker has never been killed before in the history of the show. Which brings up the next contestant, who being indecisive, manages to have Killian pit two Stalkers into the grid; Buzzsaw (Gus Rethwisch), a chainsaw equipped Stalker and Dynamo (Erland van Lidth), an opera loving Stalker whose main weapon is electricity. {Side note: van Lidth actually was an opera singer. That's actually him singing in the scenes where Dynamo sings}.

 



 

 

 

 

 

 

The defeat of Buzzsaw is a "buzz kill" (yeah, I said it.). But the battle against Dynamo features a background music of "Ride of the Valkyries" (appropriate for a battle with an opera singer, even if it is pretty much expected and possibly a cheesy trope at that point.)  The death of one more of the Stalkers in unprecedented. (Richards leaves Dynamo alive, but powerless.) Apparently no one, the audience nor even Killian himself, has seen such carnage performed on  the "lawmakers". It's bound to be a foregone conclusion that they have seen such carnage committed against the players, but then the players are supposed to be lawbreakers, so that's no big deal.

Bring on the backups. Fireball (Jim Brown) a Stalker from the back stage is brought up. And since Dynamo was allowed to live, we have another pair of Stalkers to pit against the renegade policeman.  But Richards gives them more than Killian and the execs or the Stalkers bargained for.  But there is still one more chance for the "good guys".  Jesse Ventura finally gets his chance as Captain Freedom, a retired Stalker who has been reduced to doing exercise videos.

 



 

 

  

 

 

 

Eventually Richards gets free of the confines of the game grid and goes after Killian.  The final wrap of the movie is just as you'd expect from such a movie.

If you are just looking for a lot of action and a few explosions this movie is pretty good.  However, if you are looking for a film that stays true to it's source material, or are just a fan of King as King actually wrote the original, you might want to avoid this one. It's not as bad as, say, Lawnmower Man in that respect, but it does not come all that close to the novel.

Well, folks, the drive home will prove to be a challenge.  I think I will avoid that section of the city  that has all those cameras all over the place.  Drive safely.

 

Quiggy

 


 




Friday, May 24, 2019

Road Rage





This is my first entry in the Great Villain Blogathon hosted by Speakeasy, Silver Screenings and Shadows and Satin




Here he comes!  Machine Gun Joe!  Loved by thousands, hated by millions!




Yessiree!  They don't come any badder!  Darth Vader eat your heart out.  Machine Gun Joe Viterbo could run rings around your black-caped ass and have time to eat a stromboli or two in between acts.

Machine Gun Joe, who has the second best record in the annual Death Race runs has a deep and abiding hatred of his rival Frankenstein, the only other two-time winner of the Death Race and the only one who has a better record than Viterbo.  But Viterbo hates being second best in anything.  (Which is why I won't even put him below Darth Vader on the bad guy list.  Strangulation I can deal with.  But a couple hundred machine gun bullets?  That'd hurt...)




Death Race 2000 (1975):

In the year 2000, the world is a vision of dystopia that seems somewhat familiar today.  Albeit one in which America has somehow garnered a President-for-life dictator. The President, in all his magnanimous glory, has established an annual race in which all of the racers are given the task of racing across the United States from New York to Los Angeles.  The first one to arrive in Los Angeles is not necessarily the winner, however.

Because in the violence loving future, the racers have an added goal of running over any civilians they can find in their path.  Points are given based on the age of the victim and these are accrued to their score.  So technically, a racer could arrive in LA first, but still be second in the winner's bracket because he or she didn't kill enough people en route.

The racers are a hodgepodge of tropes, much like the WWF of today.  And each racer has their own navigator/sidekick who helps the driver achieve his or her goal.  .You have Matilda the Hun ( Roberta Collins) and her second, "Herman the German" (Fred Grandy; Gopher from "The Love Boat") who are a Nazi-themed duo.





You have Nero the Hero (Martin Kove) and Cleopatra (Leslie McRay), who are Roman gladiators.





You have Calamity Jane (Mary Woronov) and Pete (William Shephard) who are Western heroes.




You have the favorite star Frankenstein (David Carradine), who in the tradition of all Frankenstein's is supposedly pieced together with spare parts after numerous accidents in previous races, along with his navigator, Annie Smith (Simone Griffith).





And then you have Machine Gun Joe Viterbo (Sylvester Stallone), a gangster with his moll, Myra (Louisa Moritz).




Frankenstein, for his part, is just another driver, although he has been saddled with a new navigator.  Unbeknownst to him, Annie is the granddaughter of Thomasina Paine (Harriet Medin), the leader of a resistance group determined to bring down the Death Race and to overthrow the rule of the President.

The race begins with a real bang as Viterbo shows up, and hearing the cheers for Frankenstein and boos for him opens up fire on the stadium.  Those kills don't count, Joe.  You gotta run them over, not shoot them...  Joe does have some sense of the rules though.  And at one point he takes out his own pit crew.  Which the judges determine counts in the total of his "kills".

The race takes off, and Joe scores first.  But the fly in the ointment is the resistance group who aren't above setting up traps to kill the drivers in order to achieve their goals.  They lure the drivers into apparently easy kills only to have them blown up or drive off a cliff (through a fake detour tunnel, shades of Coyote/Roadrunner cartoons!)

Eventually, of course, it comes down to our two "heroes"; Frankenstein and Viterbo.  And with Frankenstein apparently swayed over to the side of the resistance by Annie, that leaves only Viterbo to fight for for the good old American Way of violence at all costs.

Some of the better side scenes come from the trio of commentators who give the play by play action.  Harold (Carle Bensen), a Howard Cosell knockoff, gives a straight forward no-nonsense account.




Grace Pander (Joyce Jameson) is the on the scenes girl, with a penchant for calling all the riders "a dear dear friend of mine".





And Junior Bruce (played by disc jockey "The Real Don Steele") is a riot as an over the top play-by play guy.






The dark comic aspect of the film may be missed by some due to the bloodshed on screen, but Paul Bartel, the director of the film, as an eye for real black comedy.  You should check out Eating Raoul, another of Bartel's genius black comedies, for a true look at his bizarre wit. Lust in the Dust is also worth a look.  Bartel only directed a handful of films, and may be more recognizable as a character actor.  (he has 91 credits as an actor).  But among Roger Corman's impressive list of "discoveries" in the field of directorship, Bartel stands out as one of the best in  my opinion.

Stallone was still a year away from true stardom with his role in Rocky, but this movie  represents an excellent window into the kind of character with which he would make a name for himself, as a gung-ho don't give a rat's ass about the rules type of guy.

Well, folks, that revving sound you hear is me firing up the old Plymouth.  Drive safely, folks.  (After all, this is only a movie.  We don't actually have  a Death Race...yet...)


Quiggy

 

Friday, April 5, 2019

Big Trouble in the Bronx





 This is my entry in the Vic Morrow Blogathon hosted by Hamlette's Soliloquy and Sidewalk Crossings






From The Cinematic Bartender by Winthrop J Quiggy:

Bronx Warrior (aka "Italian Ripoff")

Take one jigger of Escape from New York.  Add 2 shots of The Warriors. Sprinkle with a liberal dose of Mad Max.  Shake vigorously.  Serve over ice with a twist of Usagi Yojimbo.

Italian cinema, especially the kind that populated drive-in theaters, were not well known for originality.  Witness the plethora of spaghetti westerns that followed Sergio Leone's classic "Man with No Name" trilogy.  Or just about any sci-fi movie from that country (including this one.)

Not that that means they aren't entertaining.  In fact, if you can approach low-budget Italian movies with an open mind, they can be a nice way to spend the afternoon.  You hardly ever get the caliber of performance of, say, Marlon Brando in On the Waterfront, but the plots usually have a lot of action, which is why most drive-in movie lovers went to the drive-in in the first place.  (I heard that... I was referring to people who went to them with the express purpose of WATCHING the movies, you sick-minded freaks...)

Vic Morrow is the headline name of this flick and his talent as a bad guy is pretty much the same as most other bad guy roles he played.  This was the penultimate role he played before his unfortunate death on the set of the next movie he was in, The Twilight Zone:The Movie.


It also stars Fred Williamson as Ogre, one of the kingpins of the gang society in the Bronx, and a guy named Mark Gregory.  Gregory (whose real name was Marco di Gregorio) runs around this movie looking like a refugee from an 80's MTV hair band video. (And are those his real lips or was he hitting the Botox before it became available on the market...?)




Which brings me to a point about the music for the film.  The music pretty much distracts from the feel of the movie.  Ogre plays jazz music in his lair, for crying out loud... (Really?)  Personally I think a sprinkling of some heavy metal songs would have improved it.  Stuff like Accept's "Balls to the Wall", Krokus' "Long Stick Goes Boom" and Judas Priest's "Some Heads are Gonna Roll". (Although, truth be told, those songs came out post-production of this film, but surely there were some fitting heavy metal songs that could have improved the music...)




1990: The Bronx Warriors (1982):

In the preface to the film, much like Escape from New York, the future of crime has had devastating effects on the city of New York.  (NYC seems to get the brunt of negative associations in futuristic sci-fi.  Must be one hell of a bad place to be in the future, don'tcha think?)  Anyway, by 1990, the police and government have basically just given up the city as a lost cause.

In the beginning, a woman, Anne (Stephania Girolami who was the director's daughter), is on the run.  She enters the No-Man's Land of the Bronx, where she is accosted by a gang called The Zombies.  To the rescue comes  "Trash" (Mark Gregory) and his gang, The Riders.  And of course, being the stud muffin that he is, Anne falls head over heels for him.




Meanwhile back in the real world, the VP of the Manhattan Corporation and his number one man (played by, in what must have been a budget move, director Enzo Castellari and his brother Ennio Girolami; It's All in the Family, Italian style...) are desperate for the return of Anne to the fold.  Why?  Because she is 17 and when she turns 18 she will be the de facto head of the Manhattan Corporation.  Which is a big arms dealership.  Which is why she ran away in the first place.  She didn't WANT to be the head of an arms dealership.  Which apparently she thinks will dissolve if she's not around to lead it, I guess... (Wishful thinking, there, babe.)

Anyway the VP  calls on his sure ticket for the return of Anne, in the person of The Hammer (Vic Morrow), a renegade policeman somewhat like a sick version of Dirty Harry.  Only Hammer is a loose cannon in the extreme sense of the word.  He's not just trying to get the girl back.  He ultimately wants to destroy the entire sick civilization in the Bronx.




To expedite matters he will do anything and everything, including getting Trash's second-hand man Ice (John Sinclair) to betray his leader.  He also has the help of Hot Dog (Christopher Connelly), a truck driver who seems to be able to come and go as he pleases within the confines of the Bronx.

When Anne is kidnapped by the Zombies, Trash has to get help, and he chooses to make a deal with the leader of the Tigers, a rival gang.  Ogre (Fred Williamson) agrees to help under certain conditions.  But the fly in the ointment is Hammer who is driven by a maniacal need for destruction.



Morrow is over the top in this film, but I have it on some word that his voice is dubbed.  Maybe someone who is familiar with his voice can tell, but I can't.  (Apparently by the time it came for studio overdubs, Morrow was already dead so they had to get some other guy to do the job.)  If that's the case, you could blame the dubber, but Hammer's actions speak louder than words.  He's still a sadistic S.O.B.  Hey he shoots a couple in a stairwell that are getting it on, for no apparent reason than just to see them die.

There were two sequels to this movie, neither of which I watched for this entry but will get to, if only for the fact that Fred Williamson is in the third one (albeit, I guess, a different character since it seems apparent Ogre dies in this one.)

Well folks, the screen has gone dark.  Drive safely.  Remember, you never know just how balanced that cop down the street might be.

Quiggy


Saturday, September 23, 2017

Robots With Guts




This is my entry in the Duo Double Feature Blogathon hosted by The Flapper Dame and Phyllis Loves Classic Movies









Science fiction movies are always better when you place them in a dystopian future.  Of course, that defines about 99% of all sci-fi movies set in the future.  After all, how long could you last sitting in a movie theater where everything was hunky-dory and life was beautiful all the time.  Personally I'd doze off after about 10 minutes....

Peter Weller is the star of several movies in my list of the top sci-fi and horror movies  A look at his oeuvre of films shows that he is a prolific actor in the genre,  The same goes for Nancy Allen.  She had been in several movies before this role, some of which I had seen, but this was the first one in which I had ever noticed her.  Both of these went on to do many more movies after the RoboCop movies, and I will list some other appearances you can check out later.

The chemistry between the two on screen is great.  They start out as partners in the police force, but gradually come to respect each other. 








RoboCop (1987)



In the near future (an unspecified year), the city of Detroit is in turmoil.  Crime is rampant.  A company called Omni Consumer Products (OCP) has bought the Detroit Police Department and runs it as a corporate entity.  Officer Alex Murphy (Peter Weller) is transferred to the inner city division and is assigned as a partner to Officer Anne Lewis (Nancy Allen).



Meanwhile, at corporate headquarters of OCP, a senior executive, Dick Jones (Ronny Cox), introduces a concept of a robotic cop called ED209.  The ED209 is a disaster as it malfunctions, killing an executive.  The head of OCP, called 'The Old Man" (Daniel O'Herlihy), is "disappointed" with the results.  Bob Morton (Miguel Ferrer) immediately takes initiative in proposing his idea for "RoboCop", which would involve taking a human officer and imbuing him with a vast array of cybernetics.  Jones  is not very happy with the usurping of his authority, however.



On patrol, Lewis and Murphy chase down a criminal mastermind, Clarence Boddicker (Kurtwood Smith, who endows the character with MUCH more menace than he did as Red Forman on That 70's Show).  Boddicker and his gang trap Murphy and literally pour an entire armory of bullets in him while Lewis watches in horror from a hiding place.



Murphy is taken to a hospital where OCP officials take over, and in the name of enterprise, convert him to the prototype for the RoboCop program.  The faceless corporation (which isn't exactly faceless, per se, but you get the point) commandeers the former Murphy and makes him essentially a product owned by OCP.  They send him back to his former precinct, where several incidents show that he is a superior force with which to be reckoned.



Lewis observes RoboCop do a fancy move with his gun and realizes that the robot has the personality and memories of Murphy, since she had seen Murphy perform the same maneuver.  She approaches RoboCop and calls him Murphy, which triggers some memories in the machine, remembering not only his life as a married man with a kid, but also his death at the hands of Boddicker and his men. Meanwhile, Dick Jones has taken an extremely vengeful dislike for Bob Morton, and has his stooge, (guess who?  If you said Boddicker, you've been watching just about the right amount of these kinds of movies) to kill Morton, but not before Jones tells Morton via video why... Because he's a mean vindictive SOB, that's why.



Shortly thereafter, RoboCop goes on a vengeance raid of his own, tracking down Boddicker and his men in an abandoned factory.  He proceeds to extract his revenge, all in the name of the law, f course, since his directives (program) prevent him from becoming a true vigilante.  Boddicker, in a panic, trying to save his ass reveals that he works for Jones at OCP.  RoboCop arrests him instead of executing him.  He then goes to confront Jones, but finds that he has a hidden directive in his program that prevents him from acting on his evidence against the OCP executive.



The final third of the movie is very entertaining as RoboCop and Lewis try to stop Boddicker (who was bailed out by Jones) and a final confrontation with the executive board which will make you stand up and cheer, if you haven't already left the theater because of the violence... 

Which brings me to a final point.  This movie is ranked as one of the most violent movies ever made.  I think even Sam Peckinpah would have cringed at this movie.  And surprisingly, director Paul Verhoeven's original cut was even much more violent.  According to my research, it was originally rated X for violence, and Verhoeven had to re-cut the movie an astounding seven times before the movie review board finally gave it an R rating.  Admittedly the movie is over the top as far as violence is concerned.  The question as to whether it is worth it is up to the viewer.






 RoboCop II (1990)

The movie takes place sometime after the events of RoboCop.  Detroit has gradually fallen on hard times financially, and the mayor (Willard Pugh) has taken some financial assistance from OCP to keep the city in the black.  But they are about to default on their loan, which would allow OCP to have complete ownership of Detroit.  Part of OCPs plan to financially ruin Detroit involves the cut in pay to Detroit's police, which causes the police force to go on strike.

.OCP has designs to create a new RoboCop to help curb the rampant violence and crime in the inner city.  "The Old Man", who still runs the company, has become a less attractive character by this time.and wholly desires the outcome of control of Detroit, and is behind the plans of Dr. Faxx (Belinda Bauer) to create her new RoboCop 2.




Her plan is to fully integrate a personality with the cybernetics and she seeks a willing volunteer to be the human portion.  Enter drug lord Cain (Tom Noonan), a despicable character who is trying to engineer a worldwide addiction to his manufactured drug, "Nuke". 



He is helped by his associate, a young kid called Hob (Gabriel Damon).  RoboCop assualts the drug plant, where his programming stops him from shooting the kid who actually shoots him instead.  The criminals then dismantle RoboCop and send him back to police HQ in pieces.




Faxx and company rebuild RoboCop, but they screwith an army of new directives which basically turns him into a politically correct dumbass.  Lewis is frustrated with her new partner and tells him so.  RoboCop uses an electrical grid to fry his circuits, which eliminates all his directives, then goes after Cain, enlisting the help of his fellow striking officers.  They raid Cain's factory an in the ensuing melee, Cain is severely wounded.  Faxx decides that Cain is the perfect specimen for her RoboCop 2 program and turns him into the new cyborg.  To help matters, Cain has an addiction to Nuke which she feels will commit him to helping out.  But Cain, still with part of his own personality still in place, has other ideas.



Once again, this is a violent movie, and as opposed to the first one, this one just seems to relish in the violence for it's own purposes.  It doesn't have Verhoeven's touch to help it along so it basically just becomes something like one of those ultraviolent video games where the point is just to notch up the violence just for titillation.    I recommend it only because of Weller's presence, and suggest that you avoid RoboCop III, because without Weller to balance the violence, it was just a mess of hash.

Well folks, that ends this session with the ballad of the gun.  Drive safely.  I end with the promised list of Weller and Allen movies:

Peter Weller Movies: (Only ones I have seen, and like... not a complete list)

Of Unknown Origin (1983)
The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984)
RoboCop (1987)
RoboCop II (1990)
Naked Lunch (1991)
Screamers (1995)
Top of the World (1997)
Star Trek: Into Darkness ( 2013)

Weller also appeared briefly as a chacter in an episode of my favorite TV series Monk.


Nancy Allen Movies: (again, only ones I have seen, and liked...not a complete list)

The Last Detail (1973)
Carrie (1976)
1941 (1979)
The Philadelphia Experiment (1984)
 RoboCop (1987)
RoboCop II (1990)
RoboCop III (1993) (This one had a different actor as Murphy/RoboCop)
My Apocalypse (2008)