All hail Paul Verhoeven, as the 1987 sensation, ROBOCOP, makes its grand Blu-ray debut

Only the other day I was complaining about an unusually poor Blu-ray transfer from the almost-always excellent distributor, Arrow Video. The firm more than makes up for that faux pas with the release it has coming out next week: a sleek new Blu-ray of the groundbreaking sci-fi/action/satire ROBOCOP.

Though beaten to release by James Cameron's The Terminator three years earlier, that film (still the best by far of all the Terminator movies) did not have Robocop's sterling social satire and anti-Capitalist stance, via screenwriters Edward Neumeier and Michael Miner and its internationally acclaimed director Paul Verhoeven.

Mr. Verhoeven (shown at right) doesn't pile it on here as much as did in his later Starship Troopers, but the satire still sparkles and penetrates. From the first scene of a television newscast (these just don't change much over the decades, do they?) through our trip to corporate America and its plan to eviscerate society by pretending to help us, the movie is often simultaneously violent and hilarious, as was/is often Verhoeven's wont.

And don't worry if the image during that and other newscasts seems low-def. So will the scenes involving computer screens and imaging (as below). But once we leave TV and technology screens behind, the rest of the movie's narrative -- seen in utter hi-def sharpness and juicy chrome-bred colors -- proves amazing and a joy to view.

The tale here is one of a would-be corporate take-over and privatization of Detroit's police force. The movie was released during the British "reign" of Margaret Thatcher, during which privatization became a kind of holy watchword, with the fall of British unions the sad byproduct. (Or maybe privatization was actually the byproduct of union demise.)

The introduction of a new policing machine (above) at film's beginning is both funny and horrific, and Verhoeven's and his writers' wit and humor are further seen when this same machine, later in the film, must negotiate a flight of stairs.

The cast is aces, too. In the leading roles, Peter Weller (above), as the rookie cop who soon becomes robo and Nancy Allen as his policing partner could hardly be bettered. Weller spends much of his screen time behind his robocop attire (below), but there' no mistaking those luscious lips.

Ms Allen (above, left, and below), far too infrequently seen after her role in Dressed to Kill -- movies just didn't seem to know what to do with her or how to best use her -- brings enormous humanity to the film (and to robocop himself), and she's a treasure to watch in action. (There a very nice close-to-present-day interview with the actress among the enormous Bonus Features on one of the discs in this two-disc set.)

Verhoeven knows when to give us down-and-dirty action and violence. But he also understands less is more, just as he does the occasional need for more is more. His pacing is on the mark, and his excellent use of lost memory (and how to give this to us on screen) remains about as good as we have yet seen, even after the many times we've by now endured this Oh, gosh, I'm starting to remember! routine.

Dan O'Herlihy, Kurtwood Smith, Miguel Ferrer (horizontal, above, in the third photo from top) and Robert DoQui lead the fine supporting cast, but the film's ace-in-the-hole is probably Ronny Cox (above), who plays the smartly tailored, extremely nasty villain with just the right combination of relish and disdain.

As with almost all the Blu-ray of Arrow Video, the Bonus Features are plentiful, but Arrow has  really outdone itself here: TrustMovies counted a total of 32 (you can peruse them all by clicking here and scrolling down).

Distributed in the USA via MVD Entertainment Group/MVD Visual, Robocop hits the street this coming Tuesday, November 26, in both a Blu-ray limited edition and a Blu-ray Steelbook edition -- for purchase (and I hope, somewhere, for rental, too).

Stephen S. Campanelli's knock-your-socks-off MOMENTUM offers exactly that -- in spades

Say hello to a nifty new action director, whose first film -- MOMENTUM -- proves an object lesson in how to make a first-class action film on maybe one-tenth of the budget of one of those Hollywould-be blockbusters that bore us to distraction with their not-so-special effects. The poster, right, may be one of the least interesting, design-wise, to be seen in many a day, but the movie it heralds is a case study is how to do things right. The filmmaker, shown below, is a fellow named Stephen S, Campanelli, whose resume boasts nearly one hundred credits in the camera and electrical department. Momentum is his first film as director, and TrustMovies would like to suggest that this upgrade in position become permanent.

With action films one tends to blame or praise the director for the visuals on view. In retrospect, after watching Momentum, I found myself also wondering how much the smart, tight screenplay by Adam Marcus and Debra Sullivan contributed to the film's success. Beginning with a voice telling us its intention to bring America back on course (uh-oh!), the movie returns to this voice and finally visage (yes, it's Morgan Freeman, playing quite against his usual type and taking us back to one of his earlier film roles). Marcus and Sullivan bring this character back briefly at various intervals and then hugely at their denouement -- which can only mean that a sequel is in store. I hope so; I'll be first in line to take a look.

The film's two stars turn out to be perfect choices for their roles. Olga Kurylenko (above) makes a swift and savvy, no-nonsense heroine, and she is matched well by James Purefoy (below) as her nemesis. Kurylenko is lithe and can handle, with some help from her body double, the action quite believably, while Purefoy -- a man whose demeanor and visage, even in repose, are enough to scare the pants off you -- makes his nasty villain a more-than-memorable one.

The movie's initial visual brilliantly combines a drum concert and a jewel heist by robbers in costumes that may make you imagine this to be some sci-fi film. You may also think the opening quite swell but wonder if the film can possibly match this segment down the road. Not to worry. It simply gets better and better.

It does this by giving us as much action -- hand-to-hand combat, foot and car chases -- as we could reasonably want while subverting many of the genre's cliches. You know the one about the auto speeding

toward the parking lot entrance in which those don't-drive-over spikes are protruding lethally? Just wait. And what about the mother and child in imminent danger from the bad guy? Again, there's something new here, too. Even the requisite "torture" scenes offer enough subtlety and difference to stand out from the pack.

Via suspense, action and surprise, Momentum keeps its momentum going full speed ahead. Only at the end does it suddenly seem a bit simple. And yet, that's the set-up for the sequel. Would we want to deny this tale that?

Don't think so. To watch Ms Kurylenko face off against Mr. Freeman and his henchmen ought to be, what? The bees' knees, the cat's pajamas, and the action lover's dream come true.

Momentum -- from Starz Digital and running 95 fast minutes -- opens tomorrow, Friday, October 16, in the dozen theaters/cities listed below, while simultaneously becoming availale for viewing via VOD.

New York, NY: Cinema Village

Los Angeles, CA: Arena Cinema

Atlanta, GA: Plaza Theater
Chicago, IL: Facets Cinematheque
Cleveland, OH: Tower City Cinema

Columbus, OH: Gateway Film Center 

Dallas, TX: Texas Theater
Detroit, MI: Cinema Detroit 

Houston, TX: AMC Gulf Point 30 

Miami, FL: AMC Aventura Mall 24 

San Francisco, CA: 4 Star Theatre
and Toronto, Canada at the
Magic Lantern Theatres' Carlton Cinema