RoboCop [4K Ultra-HD] [Limited Edition] [Blu-ray]

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on the RoboCop: Edited For Television featurette on this release. The full TV Cut was transferred from an original DigiBeta broadcast master tape. shift in picture quality throughout these scenes, in keeping with the condition and generation of these materials.

Shooting RoboCop (SD, 8 min) — The original 1987 EPK promo with cast & crew interviews and lots of BTS footage. Ok, i’m biased - Robocop was one of the first 18/R rated films that I ever saw, and has remained in my personal top 10 all-time favourite movies ever since. A defining moment in 80 cinema, the movie is a timeless classic of action and gore while philosophising what it is to be human, even if that humanity has supposedly been stripped away. Regarded as a key influence on science fiction cinema and cited by numerous filmmakers, the film was remade with rather less impact in 2013. Analog, a featurette focusing on the special photographic effects, including new interviews with Peter Kuran and Kevin Kutchaver The Dolby Atmos mix was sourced from the original LCRS 4.0 mix and was produced by Arrow Films at Deluxe Audio in 2021. The original 4.0 andWe see various shots of Robocop, a profile of a criminal on a screen and Robocop in a car witnessing a crime. Like Arrow’s other recent 4K release, 12 Monkeys, RoboCop’s visual improvement in 4K is more of incremental than revolutionary. Given the film’s vintage and its use of special effects of the old school optical variety, the jump to 4K is a double-edged sword: little details are better, resulting in image quality that might even surpass what you could see in the movie theater in 1987, while the softness of the special effects stands out more. The Boardroom (SD, 6 min) — With commentary by animator Phil Tippett, this is a storyboard comparison of the scene that introduces ED-209's grand entrance into the OCP boardroom. The new release includes a 4K restoration of the film, which you can watch with both the original and alternate endings, all presented in 4K (2160p) UHD Blu-ray. Casting Old Detroit, an interview with casting director Julie Selzer on how the film's ensemble cast was assembled

Also included are two featurettes: Dissecting Mary Shelley’s Frankenstein, in which Volk, Pirie and Rigby discuss on the differences between the novel and Kenneth Branagh’s screen adaptation, and Frankenstein: A Liberal Adaptation from Mrs. Shelley’s Famous Story for Edison Production (1910), which is the first screen adaptation of Shelley’s story – a 2K restoration by the Library of Congress, with music by Donald Sosin. The ultimate box set also includes three exclusively commissioned illustrated portraits, and a hardcover book featuring extensive photography from production as well as a new introduction from Coppola. Commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film)

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Commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director’s Cut) Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film)

Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director's Cut) For this UHD edition, Arrow Video ports over the same outstanding collection of supplements as their 2019 Blu-ray release and spread across both UHD discs. Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 and Dolby Atmos surround sound options on both cuts inserts were sourced from lower-generation positive elements due to the negatives for these sequences being lost, there is an unavoidable subtle The Villains of Old Detroit (SD, 17 min) — More recent interviews with Ray Wise, Kurtwood Smith, Ronny Cox and Miguel Ferrer sharing fond memories of playing the film's bad guys.

R3Store Studios, London in 2021. Dolby Vision grading was then completed by Fidelity in Motion, New York.

Davison and co-writer/co-producer Edward Neumeier. Both the original Theatrical Cut and Director's Cut versions were graded in 4K HDR10 at Casting Old Detroit, an interview with casting director Julie Selzer on how the film’s ensemble cast was assembled Paul Verhoeven was considered a cutting edge filmmaker when RoboCop was originally released. With a line up that includes Flesh + Blood, Total Recall, Basic Instinct, and Starship Troopers, it’s difficult to argue with that. A terrific visualist with a penchant for over-the-top violence, he also nailed the action and science fiction genres over the head, while at the same time putting his own personal stamp on his work. It’s also difficult to overlook the satire running throughout RoboCop, particularly with the local newscasts, the commercials in between, and the generic TV show containing the famous catchphrase "I’d buy that for a dollar!"Arrow Films have created what is undoubtedly the definitive 4K Robocop collection. The movie has never looked better, and likely never will look better than this. Grain is prevalent, and even more noticeable during the TV sequences, but isn’t distracting. The HDR makes Robocop’s armour pop with a violet hue that I’ve never seen before. The Improvements also include the Director’s cut footage, which on previous Blu-ray releases that I’ve owned had clearly not been remastered. Here it is, and while it isn’t a perfect match in quality, it Is closer here than it ever has been before. There is a wealth of archive and new special features, including a very charming interview with Nancy Allen. And the edited-for-television version, which I had actually avoided till now, is hilarious. Connecting the Shots, an interview with second unit director and frequent Verhoeven collaborator Mark Goldblatt Flesh and Steel (SD, 37 min) — A straightforward making-of doc with interviews of the filmmakers, talking on the plot's origins, praising Verhoeven, the casting, special effects, cinematography, the musical score and touching on various themes within the story. Lastly, additional film elements of the TV Cut version supplied by MGM were scanned at EFILM and graded in 2K at R3Store Studios and are included On Disc Two, the audio commentary with Verhoeven, Davison, and Neumeier is the original version recorded in 2004 for the MGM DVD release. Both the original and final theatrical isolated scores are presented in 2.0 DTS-HD Master Audio. The E dited-for-TV V ersion of the film has been assembled utilizing newly-restored 35mm elements in English 2.0 DTS-HD Master Audio with optional subtitles in English SDH. RoboCop: Edited for Television examines takes from two TV versions of the film, as well as outtakes. The Split-Screen Comparisons take a look at the differences between all three versions.