Demolition Man (1993) Retrospective
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- เผยแพร่เมื่อ 18 ก.ย. 2022
- Maarek from the Good Old Boyz Podcast joins me for a great conversation on Demolition Man (1993) it's aesthetics, prescient political messaging, and themes. We also touch on Robocop (1987), Starship Troopers (1997) and a whole range of other film and political topics. I'm sure you will find that Maarek's take on the movie is unique, fun, and insightful.
You can follow him on twitter @Maarblek
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Maarek's never lost it.
Personally, I think he was on fire in this episode.
It feels crazy to say that Demolition Man beats many modern sci-fi action films, but it sure does! A classic and perceptive review of a classic movie.
Would love to have you guys on the show!
@@FilmJournal Sent you a Facebook message as couldn't find an email - Dave.
Maarek is right. It's all the same type of person in the executives offices. Studios, Nascar, NFL... I had a professor who was a major marketing exec for Snap On. Short cropped hair "elder girlboss raising a girlboss daughter" type. Nice enough lady but she became vocally upset over seeing three white guys in a Harley add. Actually said out loud "this upsets me."
The previous pages were all women on harleys, black dudes on harleys, super diverse.
They're all either entirely taken in by it or relish playing the innefectual Bill Mahr type yet offer no resistance.
The side angle of you looking at the screen is great, that's the way (or a way) to do it
Not sure if you’re being sarcastic but I’ll take it. Thanks for watching!
@@FilmJournal Sincere, it's hard to make interview angles interesting in a podcast.
@@danwroy Very much so! I appreciate it.
I agree, you and Low Res Wunderbred are the only two I've seen do it so far but it's great and makes it stand out from the typical low effort zoom call streams people do
Robocop 2 was solid, and the commercials were twice as good as the first.
I think- with Robocop 2- and something that plagues many sequels- is that there are too many elements pulling focus. I'm not a big fan of Tom Noonan being relegated to big robot status for the third act and Robocop being put on ice for such a large majority of act 2. However, I applaud Kirschner's direction in certain scenes- the opening is fantastically staged and realized and the script is a great distillation of Frank Miller tropes we saw in the late 80's in his seminal comic books- for that, it's worth a watch.
@@FilmJournal I recommend you read the Frank Miller comics made from his scripts for 2 and 3 if you haven't. They're batshit and fun as hell. The one for 2 is just called Frank Miller's Robocop and the one for 3 is Robocop: Last Stand. There is an omnibus that collects both miniseries.
We all laughed at it back then. We're not laughing now.
Hey there, love your channel, very much enjoy your story-based film analysis overall, but I must say it is somewhat humorous that you fine fellows don't seem to understand Verhoeven's work very clearly. Its highly satirical of the north American perspective you guys are positing in this episode.
I get that, but even if he was trying to lampoon Reaganism or something- it kind of fails bc Robocop is based.
@@FilmJournal Respectfully, I think many would argue that it succeeds, as it plays to an audience that often misses the subtleties at the core of the script. Robocop is created because the Murphy and Lewis characters are bad at their jobs, and by the film's conclusion, both of them still work for the corporation which is not only responsible for Murphy's dehumanization, but also is allowing the urban decay to destroy his community in pursuit of an increase to their short-term profit margin. The film is a great, though strange satire, as it allows the audience to cheer for what is essentially their own lack of discernment. Starship Troopers, as you guys mentioned, is similar. In the script, it is quietly mentioned that the humans began the conflict in which they find themselves. I think many people admire Verhoeven's American films for that reason. They play to the shallow/sensational excess of mainstream Hollywood, while staying relevant past the specific era in which they were made.