JUST GIMME MY FUCKING PHONECALL

The film Ken Russell said was the greatest example of science fiction since Metropolis has somehow been reconstituted as a 1990s Fox TV pilot. I wasn't particularly hopeful for José Padilha's RoboCop remake, but even I expected something more refined than Michael Keaton trumpeting like a toy executive. Why are notionally exciting action sequences set in undressed warehouses? Why does a CG augmented powerjump have such a weightless impact? That leap gag in particular looks prehistoric. The Stained Glass Knight in Young Sherlock Holmes is a better example of verisimilitude. I understand there's more than enough time to slap a few filters on this, but that last low-angle shot of Robo striding, with a puny explosion on his receding right, is like something out of fucking Dark Angel.