As you would hope, detail is better rendered now. Edges are smoother and more clearly delineated. Costumes reveal more texture, as do wounds. There is more depth to the image because it is sharper and less cluttered with artefacts. Robocop striding out of the inferno at the gas station and the entire sequence in the drug factory certainly seem to exhibit more dimensionality than before. Looking out across the main hall in the precinct house also shows a considerable gain in depth, and fine detail retained in the furthermost recesses of the image. And the fantastic Forbidden Planet-like views up and down the glass and chrome elevator shafts in the OCP building. pertinent questions raised about profits vs. public service, and there's a lot going on in a taut 103 There aren’t any further details on King’s The Long Walk adaptation but as soon as we hear more we will be sure to let you know.

Update (December 1, 2019):I mistakenly stated that Arrow carried over everything from the MGM disc. This edition is missing a handful of production featurettes from the time of shooting, and a 37-minute making-of documentary. Though it's a shame that the featurettes aren't here the content of the making-of is pretty much covered in the other features that Arrow have included. ClosingCasting Old Detroit, an interview with casting director Julie Selzer on how the film’s ensemble cast was assembled Arrow then gets a couple of more interviews with members of the crew, first with casting director Julie Selzer and then with second unit director Mark Goldblatt, running 8-minutes and 11-minutes respectively. Selzer talks about the casting challenges that came up (like finding an actor with the perfect cheekbones for the role of RoboCop) and the joy of casting against type (the sweet-in-real-life Kurtwood Smith and Ronny Cox as a villains, Miguel Ferrer as an executive, etc.) I was also rather fascinated by Goldblatt’s participation, who explains in detail his duties as a second unit director (which includes channeling the director, not go off and do your own thing) and what shots he was responsible for. Murphy (Peter Weller) is a cop in Detroit who is assigned to a new partner: Lewis (Nancy Allen). But Murphy is butchered and left for dead by a drug gang led by ruthless mobster Clarence (Kurtwood Smith), who is laundering his coke profits through a creepy corporation led by chilling CEO Mr Jones (Ronny Cox). Jones happens to be developing “RoboCop” technology for the city’s police department: a cyborg officer which will be cheaper to run and impossible to kill, but which needs a cop’s body. Poor Murphy is chosen as the first bionic officer. And so the terrible beauty of RoboCop is born. Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film)

Director’s Cut Production Footage, raw dailies from the filming of the unrated gore scenes, presented in 4K (SDR) Robocop is coming to 4K to follow his prime directives in jawdropping clarity. The special edition release from Arrow Video is coming to the 4K format for the first time. Best of all this release includes both the director’s cut and theatrical cut. Split screen comparisons between the Director's Cut and Theatrical Cut, and the Theatrical Cut and edited-for-TV version Connecting the Shots, a newly filmed interview with second unit director and frequent Verhoeven collaborator Mark Goldblatt Director’s Cut and Theatrical Cut of the film on two 4K (2160p) UHD Blu-ray™ discs with Dolby Vision (HDR10 compatible)

In the TV, the long shot after the first gunshot is one frame longer before we see the gun barrel from which another shot is fired. Southern Charm' Star Olivia Flowers Shades 'RHOBH' Star Crystal Kung Minkoff After BravoCon: "I Thought She Was Rude" The Future of Law Enforcement: Creating RoboCop, a newly filmed interview with co-writer Michael Miner unlike anything anybody had ever seen before, and, really, unlike anything anybody would ever see again.