When RoboCop was first announced, fans greeted the news with a largely negative reaction, as is normally the case with most reboots. Surprisingly enough, star Joel Kinnaman wasn't even interested in pursuing the project, until José Padilha signed on.

"When I first heard there was gonna be a RoboCop remake, I thought, 'Maybe I'll see that somewhere down the line. But it's nothing I'm interested in pursuing myself.' Then when I heard it was José Padilha that was gonna direct it, I became very interested. José has fought very hard and succeeded in making something that has a point of view, and a political and philosophical perspective."

The actor also spoke about the modern culture of remakes as a whole, while revealing that RoboCop isn't exactly a remake.

Related: Rare RoboCop X-Rated Cut Is Streaming on Amazon Prime

"It's a great responsibility. Especially in a world where there's a lot of remakes being made for cynical economic reasons. But having José as a director washed away those fears. The biggest respect you can pay to the original is to acknowledge it as a very intelligent movie, and try to make something intelligent to follow it up with, and not just replay old catchphrases. We kept one or two as a wink to the fans, but we did not try to remake the movie."

Joel Kinnaman revealed to us exclusively last March that this project will feature a few "throwbacks" to the original RoboCop, but that it's also a complete "re-imagination" of the story. One of these "throwbacks" is the ED-209 from Robocop 2 that was seen in last week's TV spot, and the previous trailers and other videos feature Alex Murphy uttering the iconic line, "Dead or alive, you're coming with me."

However, with all that being said, this version of RoboCop appears to distance itself from the original by tackling themes of corporate responsibility and excessive celebrity obsessions, as personified by TV host Pat Novak, played by Samuel L. Jackson.

Do you think this version of RoboCop is actually a reboot or a remake? Or do you think there is enough original material here that it can stand on its own against Paul Verhoeven's 1988 classic?

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