Unsurpassably thrilling, unexpectedly moving and unforgettably hilarious in equal measure, the future of law enforcement is back in a definitive 4K UHD Blu-ray presentation packed with hours of brand new bonus features and exclusive collectable packaging. They are: An American Werewolf in London (1981), Come Drink with Me (1966), To Sleep So As To Dream (1986), RoboCop (1987), and Mary Shelley's Frankenstein (1994). Arrow’s original Blu-ray literature warned that, since these inserts were scanned from lower-generation and positive elements, there is an unavoidable subtle shift in picture quality. She is also a Cinema reviewer and works with RealD 3D reviewing the latest 3D releases and IMAX, she has also had several articles published in various publications including the first edition of SFW Magazine.

A movie classic from the 1980’s that has aged wonderfully and is still just as entertaining as it was upon its release.

The theatrical cut that I grew up with is also accompanied here by the directors cut that I didn’t get to watch until many years after it’s release. Robocop walks past a frosted window then shows a spike extending from his fist to a worried looking man. More Man Than Machine: Composing Robocop (12:08, HD) – A tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger, and Robert Townson. There are still little dips in quality, but they are less noticeable than they were on either Arrow or MGM’s BDs. Much like in my review of Arrow’s 4K UHD release of An American Werewolf in London, do I really need to give a synopsis of Robocop?

you’ve got one hell of a ride in front of you, following officer Murphy as he becomes the titular Robocop after a brutal scene with the movies bad guys leaves him as good as dead, before he is brought back to life more machine than human. Having already purchased the Blu-ray version of this I still went ahead and bought this new 4K UHD version as it is my favourite film. I suppose someday someone will compare and contrast the nature of film critiques between the almost-all-on-print era and the almost-all-on-film era, if they haven’t done so already.

Connecting the Shots (11:06, HD) – Second unit director Mark Goldblatt (director of Dead Heat [1988] and The Punisher [1989]) talks about working his way up to a job on RoboCop and his frequent collaborations with Verhoeven. Verhoeven pays occasionally poignant lip service to this idea, and Peter Weller’s gravity in the central role serves as resonant emotional shorthand, but the filmmaker can’t wait to get his metal warrior—billed by the film’s poster as “part man, part machine, all cop”—out into Detroit’s ravaged streets to do battle with Clarence and his goons, who blew RoboCop’s human basis to pieces in a scene of ejaculatory violence that’s still shocking. Independently owned and operated publications like Slant have been hit hard in recent years, but we’re committed to keeping our content free and accessible—meaning no paywalls or fees.