RoboCop is a 2014 American cyberpunk[9] action film directed by José Padilha and written by Joshua Zetumer, Edward Neumeier, and Michael Miner.

Set in 2028, a detective becomes critically injured and is turned into a cyborg police officer whose programming blurs the line between man and machine.

In 2028, multinational conglomerate OmniCorp revolutionizes warfare by introducing robotic peacekeepers capable of maintaining law and order.

Led by CEO Raymond Sellars, the company moves to market its technology to domestic law enforcement.

Aware that most Americans oppose the use of military systems in their communities, Sellars asks Dr. Dennett Norton and his research team to come up with an alternative.

During combat training with trainer Rick Mattox, Alex proves unable to compete with the standard OmniCorp drones efficiently.

This reprogramming increases Alex's efficiency dramatically but leaves him less empathetic due to his human nature being bypassed.

Fearful of being exposed, Sellars orders Mattox to destroy RoboCop while he's being repaired and tricks Clara into thinking that Alex died.

Alex returns and storms the building, fighting through the ED-209 drones sent to stop him, while Jack and his fellow police arrive to hold off the rest of OmniCorp's forces.

Now the Aronofsky's script was going 3000 years in the future when humanity would have lost the notion of morality and the only place wherein could recover this concept was in the RoboCop program.

Sony Pictures Entertainment's Screen Gems division first announced that it was working on a new RoboCop film in late 2005; no further details were given.

[18] At the 2008 San Diego Comic-Con, Aronofsky was confirmed to direct the "2010 RoboCop" film, with David Self writing the script.

[20] At San Diego Comic-Con in July 2009, MGM representatives stated only that the film would be pushed back to summer 2010 or a later date, due to scheduling conflicts with the director (most likely Aronofsky).

Due to the financial state of MGM at the time, without an owner,[clarification needed] and creative disagreements between the studio and Aronofsky, the film remained on hold.

[43] Jackie Earle Haley officially signed on in July 2012 to play a "military man named Mattox responsible for training Kinnaman's RoboCop".

[45] Douglas Urbanski, cast as Mayor Durant, is typically a non-actor who is also the decades-long manager and producing partner of Gary Oldman.

Initial reactions were unfavorable[46][47][48] and some compared it with Christian Bale's Batman suit in Christopher Nolan's The Dark Knight films.

[52] The Guardian described the new RoboCop as "a crime-fighting machine who is not so much cyborg as skinny bloke in matte-black body armour" and said, "The new Robosuit has a scaly, insectoid look to it, with a blacked-out visor rather than the original's steel extended helmet.

"[53] Before starting filming, Brazilian director Fernando Meirelles revealed that Padilha called him to admit he was having "the worst experience of his life" and "for every ten ideas he has, nine are cut".

[62][63][64][60][61] When asked about the soundtrack, Bromfman's idea was to blend acoustic and electric instruments into a hybrid sound to symbolize RoboCop's transition into a cyborg.

A rough trailer and some film footage featuring Samuel L. Jackson's and Michael Keaton's characters was shown at the 2013 San Diego Comic-Con.

According to director Padilha, the first theatrical trailer was supposed to debut with Elysium, but it was instead released online on September 5, 2013, and was attached to showings of Riddick.

They were collected in a trade paperback edition under the title RoboCop: The Human Element to coincide with the home media releases.

The site's critical consensus reads, "While it's far better than it could have been, José Padilha's RoboCop remake fails to offer a significant improvement over the original.

[12] Guy Lodge of Variety said that "It's a less playful enterprise than the original, but meets the era's darker demands for action reboots with machine-tooled efficiency and a hint of soul.

"[72] Leslie Felperin from The Hollywood Reporter wrote that the remake "has a better cast, more meticulous script and, naturally, flashier effects, but it lacks the original's wit and subversive slipperiness.

"[73] Andrew Osmond from SFX says, "It's not a classic like Paul Verhoeven's 1987 original, but it is an excellent, intelligent SF drama," believing it is "one of the boldest Hollywood reboots we've seen yet".

[74] Chris Hewitt from Empire wrote, "there's a sense that Padilha, or perhaps his corporate overlords, don't really get what made the original so special.

[76] Peter Bradshaw of The Guardian wrote it was "a dumbed-down shoot-em-up frontloaded with elaborate but perfunctory new 'satirical' material in which the movie loses interest with breathtaking speed".

[77] His fellow Guardian film critic Mark Kermode rated it 3 out of 5 stars, writing that "against the odds, this emerges as far less depressing fare than one might have expected, retaining the key elements of political satire and philosophical musings that powered Verhoeven's original" and "at least it appears to have been made by someone who understands what made the original great.