Robocop


1h 43m 1987
Robocop

Brief Synopsis

In crime-ridden Detroit, a terminally wounded cop is rebuilt as a powerful machine, code named Robocop.

Film Details

MPAA Rating
Genre
Horror/Science-Fiction
Action
Adventure
Crime
Release Date
1987
Distribution Company
Orion Pictures
Location
Pittsburgh, Pennsylvania, USA; Houston, Texas, USA; Pittsburgh, Pennsylvania, USA; Harrisburg, Pennsylvania, USA; Dallas, Texas, USA

Technical Specs

Duration
1h 43m

Synopsis

In the not-to-distant-future, a newly transfered Detroit police officer is remade into an indistructable cybornetic cop after being dismembered by a gang of thungs in an abandoned warehouse. Reborn as Robocop he is programed to serve and protect the citizens of Detroit and eliminate the rampant crime in the city streets so that a massive city-wide reconstruction project can get underway. But once he has completed his task, he sets his sites on the corruption inside Securities Concepts Inc.- the corporation that created him.

Crew

Monte Adcock

Other

Lawrence Aeschlimann

Special Effects

Henry Alvarez

Construction

Rick Anderson

Director Of Photography

Rick Anderson

Other

Paula Squires Asaff

Script Supervisor

Don Baker

Photography

Michael J. Benavente

Sound Editor

Beverly Bernacki

Other

Rob Bottin

Special Makeup Effects

Rob Bottin

Other

Neal Brietbarth

Special Effects

Donald Broughton

Boom Operator

Ken Brown

Other

Samai Brown

Props

Jamie Bunch-elliott

Stunts

James Christopher

Sound Editor

Blair Clark

Special Effects

Stephanie Claxton

Production Assistant

Allegra Clegg

Production Coordinator

Bonnie Clevering

Hair

Gary Combs

Stunt Coordinator

Peter Conn

Video

Brian Cowden

Location Manager

Vickie Creach

Stunts

Craig Davies

Other

Jon Davison

Executive Producer

Carlos Delarios

Sound Mixer

Wes Dempster

Grip

Sally Dennison

Casting

Robert A Driskell

Gaffer

Ken Dufva

Foley

Sheila Duignan

Special Effects

Stephan Dupuis

Prosthetics

Randal M Dutra

Animator

Gregg Elam

Stunts

Cindy Fairchild

Production Assistant

David Fein

Foley

Gunnar Ferdinandsen

Construction

Frank Ferrara

Stunts

Rick Fichter

Photography

Randy Fife

Stunts

Joe Finnegan

Stunts

Robin Leigh Fleck

Assistant Director

Donald Flick

Sound Editor

Stephen Hunter Flick

Sound Effects Editor

Fred Gabrielli

Caterer

Spencer Gill

Other

Rocco Gioffre

Matte Painter

Avram D Gold

Dialogue Consultant

Mark Goldblatt

Unit Director

Robert Gould

Set Decorator

David W Gray

Consultant

Bill Greenberg

Grip

Diane L Greenwalt

Location Manager

Johnny L Gutierrez

Gaffer

Anette Haellmigk

Assistant Camera Operator

Catherine Hardwicke

Other

Ed Harker

Other

Tim Hart

Assistant Property Master

Jerry Henery

Foreman

Denis Hoffman

Other

David Householter

Assistant Director

Michael Karp

Photography

John Knight

Key Grip

Michael J Kohut

Sound Mixer

Peter Kuran

Special Effects

Kevin Kutchaver

Visual Effects

Larry Langley

Foreman

Janet Lawler

Costumes

Ute Leonhardt

Photography

Stephen Lim

Associate Producer

Teressa Longo

Assistant Editor

Paula Lucchesi

Special Effects

Bill Macsems

Property Master

Tamia Marg

Special Effects

Dale Martin

Special Effects

Jo Martin

Visual Effects

J Michael Mcclary

Camera Operator

Marghe Mcmahon

Other

E Miller

Production Auditor

Alvin Milliken

Transportation Coordinator

Dennis Milliken

Transportation Coordinator

Michael Miner

Screenplay

Bart J Mixon

Other

Randy E Moore

Other

Scott Musgrave

Assistant Director

Edward Neumeier

Screenplay

Edward Neumeier

Coproducer

Deana Newcomb

Photography

Charles J. Newirth

Production Manager

Carla Palmer

Makeup

Michele Panelli-venetis

Assistant Director

Sarah Pasanen

Other

Dennis Pawlik

Other

Philip C Pfeiffer

Camera Operator

Erica Edell Phillips

Costume Designer

Art Pimetel

Production Assistant

Art Pimetel

Construction

Craig Pointes

Location Manager

Basil Poledouris

Music

John Pospisil

Sound Effects

Vincent Prentice

Construction

Tom Prosser

Construction

Greg Punchatz

Other

Will Purcell

Special Effects

Jackie Resch

Stunts

Danny Retz

Assistant Editor

Keith Richins

Special Effects

Kerry Rike

Key Grip

Susan Spencer Robbins

Assistant

Aaron Rochin

Sound Mixer

Jim Rodnunsky

Video

Erica Rogalla

On-Set Dresser

Juan M Romero

Best Boy

Peter Ronzani

Other

William Sandell

Production Designer

Jeff Santlofer

Video

Arne L Schmidt

Producer

Meryle Selinger

Other

Julie Selzer

Casting

Mike Shanks

Stunts

Gayle Simon

Art Director

Steven Scott Smalley

Original Music

Larry Smoot

Other

Ron South

Assistant Editor

Bunny Speakman

Sound Editor

Carl Stitt

Grip

Ivett Stone

Casting

Becky Sullivan

Adr Supervisor

Francine Taylor

Production Assistant

Joan Skelton Thomas

Costume Supervisor

Jules Roman Tippett

Special Effects

Phil Tippett

Associate Producer

Phil Tippett

Other

James E Tocci

Set Designer

Eric Tomlinson

Music

Russell Towery

Stunts

Todd Trotter

Assistant

Frank Urioste

Editor

Jost Vacano

Director Of Photography

Jost Vacano

Other

Tom Villano

Music Editor

Ramona Dorene Villarrial

Accounting Assistant

Robert Wald

Sound Mixer

Harry Walton

Visual Effects

Richard White

Construction

David A. Whittaker

Sound Editor

Gene Winfield

Other

Moni Yakim

Other

Jacqueline Zietlow

Other

Film Details

MPAA Rating
Genre
Horror/Science-Fiction
Action
Adventure
Crime
Release Date
1987
Distribution Company
Orion Pictures
Location
Pittsburgh, Pennsylvania, USA; Houston, Texas, USA; Pittsburgh, Pennsylvania, USA; Harrisburg, Pennsylvania, USA; Dallas, Texas, USA

Technical Specs

Duration
1h 43m

Award Nominations

Best Editing

1987
Frank J Urioste

Best Sound

1987

Articles

Robocop (20th Anniversary Edition) - ROBOCOP - The 20th Anniversary Edition on DVD


Twenty years out, RoboCop (1987) looks like one of those endearing sci-fi classics of the 1950s boldly projecting a brave new world of the future still reliant on rotary phones and six-shot revolvers. That's not necessarily a bad thing and might even have been director Paul Verhoeven's point. After all, George Orwell intended his dystopic novel 1984 to be a comment not on a future then some thirty years ahead but on life in postwar England (specifically 1948) and it seems in an Orwellian spirit that Verhoeven and scenarists Edward Neumeier and Michael Miner spin their tale. A cyberpunk cousin to James Cameron's Terminator (1984) – and Arnold Schwarzenegger was even briefly considered for the title role - RoboCop posits an anarchic near future in which the world's cities (with Detroit as an example) are being eaten alive from below by street crime and from above by corporate corruption. When a good beat cop (a refreshingly diffident Peter Weller) is mutilated and left for dead by a gang of drug runners, the megacorporation Omni Consumer Products melds the officer's surviving "organics" with high tech cybernetics to create a 24-7 law enforcement machine. Although this "RoboCop" prototype proves an effective anti-crime agent, foiling rapists and hold-up men, traces of the murdered cop's memory infect its memory banks like a computer virus, ultimately sending it out onto the streets in search of the villains responsible.

An agitprop spitball aimed squarely at trickle down Reganomics and the abuse of privatization by profiteers, RoboCop looks every inch a product of its times. The self-righteousness of the filmmakers is dialed all the way up to 11, making Oliver Stone's contemporaneous Wall Street (1988) seem relatively restrained in its assignment of blame. On a style front, the hair of the younger actors is gelled high, women's blouses are poufy and high collared and boardroom and bedroom scenes have a flat, made-for-television quality that is almost painful to look at two decades hence. Paradoxically, the scenes that impressed us the most back then look the creakiest now. When venal OCP senior vice president Dick Jones (Ronny Cox) unveils his own automated cop of the future (which he hopes to sell to the military as the ultimate weapon), the raptor-like ED-209 (a creation of stop motion animator Phil Tippett) pads around with the inescapable quaintness of a vintage Ray Harryhausen creation. Happily, the performances are uniformly good, which suits a cautionary tale of the loss of humanity in an increasingly technologically-enhanced world. As stated, Peter Weller delivers a loose and warm performance for the short time his flesh and blood beat cop is alive and he is well matched by villains Cox and Kurtwood Smith, whose ragtag street gang includes Ray Wise and Paul McCrane. Equally fine in peripheral performances are Dan O'Herlihy and Miguel Ferrer, both of whom would (with Ray Wise) turn up as semi-regulars on the cult TV series Twin Peaks.

RoboCop has been issued on DVD several times in the past and has even been included in the esteemed Criterion Collection. While the Criterion disc was framed at non-anamorphic 1.66:1 (Paul Verhoeven's preferred aspect ratio), a subsequent anamorphic 1.85:1 transfer was made available as only as part of a box set that paired RoboCop with follow-ups RoboCop 2 (1989) and RoboCop 3) (1990). The MGM/Fox 20th Anniversary Edition retains the wider anamorphic transfer as part of a deluxe 2-disc package offering both the R-rated theatrical cut and the slightly more violent extended edition. No complaints about picture or sound, which are both as good as can be expected. Language options also include a French track, while subtitles are available in English and Spanish. On a supplemental level, the director/writer/producer audio commentary and featurettes included on disc 1 (the theatrical cut) are holdovers from a previous DVD release while the featurettes on disc 2 (the pre-MPAA cut) were prepared especially for this commemorative release. Highlights include interviews with Ray Wise, Kurtwood Smith and Miguel Ferrer as "Villains of Old Detroit" and with Peter Weller, producer Jon Davison, Paul Verhoeven and writer Paul Sammon (along others) for "RoboCop: Creating a Legend." RoboCop: 20th Anniversary Collector's Edition is attractively packaged in a sepia-toned tin keepcase.

For more information about Robocop, visit MGM Home Entertainment. To order Robocop, go to TCM Shopping.

by Richard Harland Smith
Robocop (20Th Anniversary Edition) - Robocop - The 20Th Anniversary Edition On Dvd

Robocop (20th Anniversary Edition) - ROBOCOP - The 20th Anniversary Edition on DVD

Twenty years out, RoboCop (1987) looks like one of those endearing sci-fi classics of the 1950s boldly projecting a brave new world of the future still reliant on rotary phones and six-shot revolvers. That's not necessarily a bad thing and might even have been director Paul Verhoeven's point. After all, George Orwell intended his dystopic novel 1984 to be a comment not on a future then some thirty years ahead but on life in postwar England (specifically 1948) and it seems in an Orwellian spirit that Verhoeven and scenarists Edward Neumeier and Michael Miner spin their tale. A cyberpunk cousin to James Cameron's Terminator (1984) – and Arnold Schwarzenegger was even briefly considered for the title role - RoboCop posits an anarchic near future in which the world's cities (with Detroit as an example) are being eaten alive from below by street crime and from above by corporate corruption. When a good beat cop (a refreshingly diffident Peter Weller) is mutilated and left for dead by a gang of drug runners, the megacorporation Omni Consumer Products melds the officer's surviving "organics" with high tech cybernetics to create a 24-7 law enforcement machine. Although this "RoboCop" prototype proves an effective anti-crime agent, foiling rapists and hold-up men, traces of the murdered cop's memory infect its memory banks like a computer virus, ultimately sending it out onto the streets in search of the villains responsible. An agitprop spitball aimed squarely at trickle down Reganomics and the abuse of privatization by profiteers, RoboCop looks every inch a product of its times. The self-righteousness of the filmmakers is dialed all the way up to 11, making Oliver Stone's contemporaneous Wall Street (1988) seem relatively restrained in its assignment of blame. On a style front, the hair of the younger actors is gelled high, women's blouses are poufy and high collared and boardroom and bedroom scenes have a flat, made-for-television quality that is almost painful to look at two decades hence. Paradoxically, the scenes that impressed us the most back then look the creakiest now. When venal OCP senior vice president Dick Jones (Ronny Cox) unveils his own automated cop of the future (which he hopes to sell to the military as the ultimate weapon), the raptor-like ED-209 (a creation of stop motion animator Phil Tippett) pads around with the inescapable quaintness of a vintage Ray Harryhausen creation. Happily, the performances are uniformly good, which suits a cautionary tale of the loss of humanity in an increasingly technologically-enhanced world. As stated, Peter Weller delivers a loose and warm performance for the short time his flesh and blood beat cop is alive and he is well matched by villains Cox and Kurtwood Smith, whose ragtag street gang includes Ray Wise and Paul McCrane. Equally fine in peripheral performances are Dan O'Herlihy and Miguel Ferrer, both of whom would (with Ray Wise) turn up as semi-regulars on the cult TV series Twin Peaks. RoboCop has been issued on DVD several times in the past and has even been included in the esteemed Criterion Collection. While the Criterion disc was framed at non-anamorphic 1.66:1 (Paul Verhoeven's preferred aspect ratio), a subsequent anamorphic 1.85:1 transfer was made available as only as part of a box set that paired RoboCop with follow-ups RoboCop 2 (1989) and RoboCop 3) (1990). The MGM/Fox 20th Anniversary Edition retains the wider anamorphic transfer as part of a deluxe 2-disc package offering both the R-rated theatrical cut and the slightly more violent extended edition. No complaints about picture or sound, which are both as good as can be expected. Language options also include a French track, while subtitles are available in English and Spanish. On a supplemental level, the director/writer/producer audio commentary and featurettes included on disc 1 (the theatrical cut) are holdovers from a previous DVD release while the featurettes on disc 2 (the pre-MPAA cut) were prepared especially for this commemorative release. Highlights include interviews with Ray Wise, Kurtwood Smith and Miguel Ferrer as "Villains of Old Detroit" and with Peter Weller, producer Jon Davison, Paul Verhoeven and writer Paul Sammon (along others) for "RoboCop: Creating a Legend." RoboCop: 20th Anniversary Collector's Edition is attractively packaged in a sepia-toned tin keepcase. For more information about Robocop, visit MGM Home Entertainment. To order Robocop, go to TCM Shopping. by Richard Harland Smith

Robocop


Synopsis: In a Detroit of the not-so-distant future, the mega-corporation Omni Consumer Products has been contracted to run the police force and plans to introduce "Enforcement Droids" to replace human officers. The first prototype fails spectacularly in testing, sending their plans back to the drawing board. When Officer Alex Murphy is tortured and killed by a gang of thugs, his body is used to create an new, improved cyborg model named "RoboCop." However, memories of Murphy's past life return to haunt RoboCop, driving him to seek revenge.

In Robocop (1987), his first American feature film, Paul Verhoeven--together with scriptwriter Ed Neumeier--made a genuinely original contribution to the action genre: an ultra-slick combination of social satire, science fiction and brutal violence. Twenty years later it is still arguably the most effective film of its type, excepting perhaps Starship Troopers (1997), which the writer-director team made a decade later. Starship Troopers was accused by some critics of being a fascist film, but for the attentive viewer it's clear that Neumeier and Verhoeven were poking fun at the underlying fascistic worldview of Heinlein's original novel. Surprisingly few critics picked up on this at the time, though Mike Clark of USA Today did give Starship Troopers four stars, characterizing it as "a sendup for the ages."

In RoboCop the satire is perhaps more accessible than in Starship Troopers, and thanks to the central dilemma of Murphy/RoboCop, the film gains in emotional immediacy compared to the ruthless ironic distance in Starship Troopers. The target in RoboCop is unmistakably the corporate and militaristic culture of the Reagan era. On the one hand, Verhoeven and Neumeier envision an enlightened future of unisex locker rooms, but on the other hand they depict the wholesale privatization of institutions such as the police force and education system ("Lee Iacocca Elementary School"), to say nothing of the reduction of media to a single television channel devoted to nothing but superficial news broadcasts and a mindlessly titillating comedy show. And Ronny Cox is perfectly cast as the snarling embodiment of heartless corporate greed.

One of the film's most clever satiric jabs, easily overlooked amongst all the mayhem, is The Old Man's "I had a dream" speech as he unveils his plans for the future "Delta City" project. The ironic evocation of Reverend Martin Luther King only serves to emphasize the underlying banality and cruelty of corporate culture in Neumeier and Verhoeven's vision. "Delta City" is no doubt a sly reference to John Portman's design for Detroit's Renaissance Center, a skyscraper complex which was part of an ambitious renewal program for the downtown area; its first phase was completed in 1977. (Incidentally, the Renaissance Center's imposing central hotel hosted Reagan himself during the Republican National Convention in 1980.) While Portman's design remains one of the most widely acclaimed architectural projects of the past thirty years, some critics have complained that its fortress-like presence only reinforces the sense of economic disparity within the city.

RoboCop was in fact Verhoeven's second feature for the American firm Orion Pictures; his first, still backed partly with Dutch funds, was Flesh + Blood (1985), a period action film shot in Spain. Verhoeven left definitively for the US in 1985, complaining in one interview that he had grown tired of having to fight the "moralizing prejudices" of the Dutch state committees that decided on whether to fund films. Although Flesh + Blood ultimately failed at the box office, Mike Medavoy, the Executive Vice President of Orion Pictures, continued to back Verhoeven--a gamble that amply paid off thanks to RoboCop's subsequent box office receipts.

Initially, Verhoeven wanted to introduce a more realistic tone to the film, but he decided to stick with the original script's comic-book approach when Neumeier had him sit down and read a number of American comic books to get a better sense of their aesthetics. The special effects artist Rob Bottin, already renowned for his brilliant work on Joe Dante's The Howling (1981) and The Thing (1982), was brought in to design the RoboCop suit, but he and Verhoeven had an extended, often bitter, struggle over its basic conception. Regardless, the final result--with its sleek finish and the helmet's emphasis of Peter Weller's powerful jaw line--evidently appealed to audiences. The film's law enforcement theme also resonated with audiences, in a way that the scriptwriter Ed Neumeier didn't anticipate. He recalls in an interview with Rob van Scheers, author of a 1997 book on Verhoeven: "[...] I thought I was making a satire about Reagan's America. But the audience locked on to it because RoboCop was a guy who was going to shoot down criminals in the street." The film received Academy Award nominations for Best Editing and Best Sound.

Producer: Arne Schmidt
Director: Paul Verhoeven
Script: Ed Neumeier and Michael Miner
Director of Photography: Jost Vacano
Special Effects: Rob Bottin
Score: Basil Poledouris
Editor: Frank J. Urioste
Production Designer: William Sandell
Art Director: Gayle Simon
Cast: Peter Weller (Alex Murphy/RoboCop), Nancy Allen (Anne Lewis), Ronny Cox (Richard "Dick" Jones), Kurtwood Smith (Clarence J. Boddicker), Dan O'Herlihy (The Old Man), Robert Do'Qui (Sgt. Reed), Miguel Ferrer (Robert Morton), David Packer (Emergency Doctor), Neil Summers (Dougy), Sage Parker (Tyler), Kevin Page (Kinney, OCP marketing executive), Diane Robin (Chandra), Felton Perry (Johnson).
C-102m. Letterboxed.

by James Steffen

Robocop

Synopsis: In a Detroit of the not-so-distant future, the mega-corporation Omni Consumer Products has been contracted to run the police force and plans to introduce "Enforcement Droids" to replace human officers. The first prototype fails spectacularly in testing, sending their plans back to the drawing board. When Officer Alex Murphy is tortured and killed by a gang of thugs, his body is used to create an new, improved cyborg model named "RoboCop." However, memories of Murphy's past life return to haunt RoboCop, driving him to seek revenge. In Robocop (1987), his first American feature film, Paul Verhoeven--together with scriptwriter Ed Neumeier--made a genuinely original contribution to the action genre: an ultra-slick combination of social satire, science fiction and brutal violence. Twenty years later it is still arguably the most effective film of its type, excepting perhaps Starship Troopers (1997), which the writer-director team made a decade later. Starship Troopers was accused by some critics of being a fascist film, but for the attentive viewer it's clear that Neumeier and Verhoeven were poking fun at the underlying fascistic worldview of Heinlein's original novel. Surprisingly few critics picked up on this at the time, though Mike Clark of USA Today did give Starship Troopers four stars, characterizing it as "a sendup for the ages." In RoboCop the satire is perhaps more accessible than in Starship Troopers, and thanks to the central dilemma of Murphy/RoboCop, the film gains in emotional immediacy compared to the ruthless ironic distance in Starship Troopers. The target in RoboCop is unmistakably the corporate and militaristic culture of the Reagan era. On the one hand, Verhoeven and Neumeier envision an enlightened future of unisex locker rooms, but on the other hand they depict the wholesale privatization of institutions such as the police force and education system ("Lee Iacocca Elementary School"), to say nothing of the reduction of media to a single television channel devoted to nothing but superficial news broadcasts and a mindlessly titillating comedy show. And Ronny Cox is perfectly cast as the snarling embodiment of heartless corporate greed. One of the film's most clever satiric jabs, easily overlooked amongst all the mayhem, is The Old Man's "I had a dream" speech as he unveils his plans for the future "Delta City" project. The ironic evocation of Reverend Martin Luther King only serves to emphasize the underlying banality and cruelty of corporate culture in Neumeier and Verhoeven's vision. "Delta City" is no doubt a sly reference to John Portman's design for Detroit's Renaissance Center, a skyscraper complex which was part of an ambitious renewal program for the downtown area; its first phase was completed in 1977. (Incidentally, the Renaissance Center's imposing central hotel hosted Reagan himself during the Republican National Convention in 1980.) While Portman's design remains one of the most widely acclaimed architectural projects of the past thirty years, some critics have complained that its fortress-like presence only reinforces the sense of economic disparity within the city. RoboCop was in fact Verhoeven's second feature for the American firm Orion Pictures; his first, still backed partly with Dutch funds, was Flesh + Blood (1985), a period action film shot in Spain. Verhoeven left definitively for the US in 1985, complaining in one interview that he had grown tired of having to fight the "moralizing prejudices" of the Dutch state committees that decided on whether to fund films. Although Flesh + Blood ultimately failed at the box office, Mike Medavoy, the Executive Vice President of Orion Pictures, continued to back Verhoeven--a gamble that amply paid off thanks to RoboCop's subsequent box office receipts. Initially, Verhoeven wanted to introduce a more realistic tone to the film, but he decided to stick with the original script's comic-book approach when Neumeier had him sit down and read a number of American comic books to get a better sense of their aesthetics. The special effects artist Rob Bottin, already renowned for his brilliant work on Joe Dante's The Howling (1981) and The Thing (1982), was brought in to design the RoboCop suit, but he and Verhoeven had an extended, often bitter, struggle over its basic conception. Regardless, the final result--with its sleek finish and the helmet's emphasis of Peter Weller's powerful jaw line--evidently appealed to audiences. The film's law enforcement theme also resonated with audiences, in a way that the scriptwriter Ed Neumeier didn't anticipate. He recalls in an interview with Rob van Scheers, author of a 1997 book on Verhoeven: "[...] I thought I was making a satire about Reagan's America. But the audience locked on to it because RoboCop was a guy who was going to shoot down criminals in the street." The film received Academy Award nominations for Best Editing and Best Sound. Producer: Arne Schmidt Director: Paul Verhoeven Script: Ed Neumeier and Michael Miner Director of Photography: Jost Vacano Special Effects: Rob Bottin Score: Basil Poledouris Editor: Frank J. Urioste Production Designer: William Sandell Art Director: Gayle Simon Cast: Peter Weller (Alex Murphy/RoboCop), Nancy Allen (Anne Lewis), Ronny Cox (Richard "Dick" Jones), Kurtwood Smith (Clarence J. Boddicker), Dan O'Herlihy (The Old Man), Robert Do'Qui (Sgt. Reed), Miguel Ferrer (Robert Morton), David Packer (Emergency Doctor), Neil Summers (Dougy), Sage Parker (Tyler), Kevin Page (Kinney, OCP marketing executive), Diane Robin (Chandra), Felton Perry (Johnson). C-102m. Letterboxed. by James Steffen

Quotes

Trivia

Miscellaneous Notes

Released in United States Summer July 17, 1987

Re-released in United States June 1, 1990

Released in United States on Video January 28, 1988

Re-released in United States on Video June 16, 1993

Released in United States November 1987

Released in United States June 2001

Shown at London Film Festival November 1987.

Originally released by Orion Pictures (USA-video)

Began shooting August 6, 1986.

Released in United States Summer July 17, 1987

Re-released in United States June 1, 1990

Released in United States on Video January 28, 1988

Re-released in United States on Video June 16, 1993

Released in United States November 1987 (Shown at London Film Festival November 1987.)

Released in United States June 2001 (Shown in New York City (Anthology Film Archives) as part of program "You Asked For It: The Films of Paul Verhoeven" June 21-30, 2001.)