RoboCop 2014 Torrent Download Online

★ 6.6 (45,960 votes)
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In 2028 Detroit, when Alex Murphy - a loving husband, father and good cop - is critically injured in the line of duty, the multinational conglomerate OmniCorp sees their chance for a part-man, part-robot police officer. view RoboCop on imdb view RoboCop on wikipedia

In RoboCop, the year is 2028 and multinational conglomerate OmniCorp is at the center of robot technology. Overseas, their drones have been used by the military for years - and it's meant billions for OmniCorp's bottom line. Now OmniCorp wants to bring their controversial technology to the home front, and they see a golden opportunity to do it. When Alex Murphy (Joel Kinnaman) - a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit - is critically injured in the line of duty, OmniCorp sees their chance for a part-man, part-robot police officer. OmniCorp envisions a RoboCop in every city and even more billions for their shareholders, but they never counted on one thing: there is still a man inside the machine pursuing justice. Written bySony Pictures Entertainment

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Review 1:

I love Paul Verhoeven's RoboCop from 1987 (which remains iconic) and I usually don't like reboots. But watching the new one I never got rid of the feeling, that the remake is worth it. It is a whole new interpretation, that sets the focus on the topics of our time: robots, drones, the human aspect behind the technology, media critics, war propaganda. I felt, the film has a mission to enlighten people and I liked that. It became even more obvious how much the RoboCop story exists within the topos of Frankenstein which is the story about the human devilment and the lack of respect of life. That's why Padilha gives Murphy more of a face, a life and feelings.

Beside that the pictures, the sound, the music is pretty contemporary. You probably have to make some compromises today to get the millions to get the flick done. It won't become iconic, but it's the right time for the right message in the right film.

Review 2:

In 2010, acclaimed director Darren Aronofsky (THE WRESTLER, BLACK SWAN) 
 was originally attached to direct the ROBOCOP reboot. Frankly, I 
 thought he was the right choice to reboot the once-popular franchise 
 back in the late '80s. Unfortunately, he quits the project and 
 Brazilian director Jose Padilha (ELITE SQUAD, ELITE SQUAD: THE ENEMY 
 WITHIN) was brought in as his replacement.
 
 WHAT IS IT ALL ABOUT?
 
 When police detective Alex Murphy (Joel Kinnaman) is critically injured 
 during a car explosion in front of his home, CEO of OmniCorp Raymond 
 Sellars (Michael Keaton) sees him as a golden opportunity to make him 
 feel alive again by turning him into "Robocop" -- a cyborg police 
 officer which is touted as the future of law enforcement in America. 
 However, OmniCorp doesn't realize that Murphy still has a personal 
 vengeance in his mind to pursue the criminals who nearly caused him 
 dead.
 
 THE GOOD STUFF
 
 Like the first two ELITE SQUAD films, director Jose Padilha delivers 
 the same raw intensity that gives ROBOCOP a quasi-documentary feel to 
 the action sequences. Even though Padilha utilizes shaky camera-work, 
 at least he doesn't make the scene so wobbly until the viewers unable 
 to see what's really going on. The special effects are spectacular, 
 while the costume design for the all-new Robocop in a black tactical 
 body actually looks quite nifty.
 
 Swedish-American actor Joel Kinnaman (best known in the US for TV's The 
 Killing) delivers an emotionally engaging performance as Alex Murphy 
 and Robocop, while Michael Keaton steals most of the spotlight as the 
 slimy CEO of OmniCorp Raymond Sellars and Gary Oldman gives a perfectly 
 restrained performance as the sympathetic Dr. Dennett Norton. Other 
 minor roles -- including Abbie Cornish as Murphy's wife, Clara; Jackie 
 Earle Haley as the military tactician Mattox; and Samuel L. Jackson as 
 the media host Pat Novak -- are all equally impressive.
 
 MOST MEMORABLE MOMENT(S)
 
 The brief but intense battle between Robocop and a small army of ED-209 
 during the climactic finale.
 
 THE BAD STUFF
 
 The biggest weakness in this ROBOCOP reboot is Joshua Zetumer's 
 captivating but bloated screenplay. First of all, the story drags too 
 much with Murphy's personal family matter with his estranged wife Clara 
 (Abbie Cornish) and son David (John Paul Ruttan). Then there's the 
 underwritten plot involving Murphy's personal vengeance against Antoine 
 Vallon (Patrick Garrow), who is responsible for the car explosion. Even 
 the so-called social commentary involving the "robo-phobic" issue 
 quoted by Samuel L. Jackson's Pat Novak doesn't really say much that 
 worth a debate.
 
 FINAL WORDS
 
 While the new ROBOCOP is far from a genre classic by any means, at 
 least Jose Padilha's version isn't as bad as most people might have 
 expected. Just put your mindset of the Paul Verhoeven's original 1987 
 version aside, and treat this as an entirely new film altogether.

Review 3:

**SPOILERS** I'll start this review by making it clear that the original Robocop is my personal favourite film and has been since I first saw it 25 years ago. Having felt much trepidation about the direction the remake was going in (PG-13 rating in particular) I went in with fairly low expectations but still something of an open mind as I really wanted this reboot to faithfully kick-start a new, successful Robocop franchise.

I was pleasantly surprised by the first hour of the film and how Murphy's quite horrifying physical transformation was depicted (there wasn't much left of him) and the emotional impact upon him. I particularly liked the first few scenes of him coming to grips with his new form and his little meltdown in the Chinese factory in which he was built. Unfortunately the film starts to take a significant nose dive at the point of Robocop's big public unveiling. A stupidly convenient plot device whereby the entire Detroit PD database including 17 years worth of the city's CCTV is uploaded to Murphy merely minutes before he's about to make his big appearance. This causes Robocop to overload requiring a change to Murphy be necessitated resulting in him then becoming more robotic and ultimately making an arrest for murder upon his big unveiling. This was a clumsily handled plot device done for the advancement of the plot but defied logic. Why give him a massive upload at such a crucial time? Others have pointed to a lack of a true antagonist and this is very true. Main criminal Antoine Vallon is utterly woeful compared to Kurtwood Smith's vile Clarence Boddiker and even Micheal Keaton can't hold a candle to Ronny Cox's performance in the original. There is also little chemistry between Alex and Clara Murphy both before and after his transformation.

The film is best when it isn't trying to ape and nod towards the original. The use of Basil Poledouris' majestic music in Pedro Bromfman's new score is particularly jarring and poorly orchestrated. When I watched Man of Steel at about the 50 minute mark I realised I hadn't heard John Williams classic Superman theme but also realised that this was a new take on the Superman mythos that didn't need to borrow from it's predecessors. Shame this film didn't follow suit.

The effects are generally good but alas the Robocop/ED-209 battle is just a typical modern day CGI fest and has none of the weight of the same scene from the original.

The film's biggest issue is undoubtedly caused by the constrictions of the PG-13 rating. Hearing arch criminals talk without any swearing pulls me out if the film and destroys any sense of realism. In one scene as Murphy approaches a drug factory to make a bust images of the classic drug factory shoutout of the original came to mind. Alas this version turns out to be a total anti-climax almost totally devoid of the carnage so required from such a scene. This follows on to Robocop taking down Vallon in a night vision shootout where men are shot but no blood, death or injury are shown in even any mildly satisfying manner. This shows clearly that gritty subject matter is not befitting of a teenage rating and similar target audience. Would something like The Wire work if it was aimed at a teenage audience? No.

There aren't any particular standout performances other than Gary Oldman who almost always delivers no matter the role or film. Kinnaman is somewhat wooden in places but gives a decent enough performance even though at times he looks uncomfortable with the role. One aspect of the film that did nothing for me was Samuel L Jackson's character who opens and closes the film and offers his very one sided views throughout. If this is their replacement of the satire of the original they can keep it. It's ham fisted and provides little more than uninteresting commentary on the power of the media and plot exposition. It tells us nothing interesting that we don't already know and Jackson does his shouty thing to excess, especially at the cringe-worthy end.

I wholly embrace the need to make this reboot from a fresh angle to that of Verhoven's original but Sony MGM have played it way too safe with something that would clearly play better if it were aimed at an adult audience. I genuinely believe that an R rated film, devoid of such tight restrictions would have been a far more satisfying experience. The original Robocop franchise died when they aimed at a younger demographic. Hollywood greed I fear has caused a repeat of this mistake. It's not a bad film per se, it's just painfully average and therefore unable to get out from the vast shadow of its forebear and like the Total Recall remake, it tries too hard too often to remind you of the original whilst offering nothing new to compete with it. I doubt there's even a harder cut tucked away for home release and even if there was there are plot issues that damage the film as much as the tame approach. Other gripes include a lack of clarity as to Omnicorp's role (if any) in Murphy being blown up, and plot threads not being followed through to any satisfying conclusion such as Murphy's relationship with his family. The best bits revolve around Murphy's initial awakening as a cyborg which are very well done indeed.

Alas there's not really that much else that's in any way as memorable as the 1987 classic it's based on. As an example of how modern Hollywood has become all about excessive studio control above creativity and maximising ticket sales at the expense of a film's overall artistic quality then this film succeeds. In all other aspects it's a bit of a wasted opportunity really.

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