It’s the Robocop trailer!

DROP IT, CREEPS, the Robocop trailer is here. After the jump, we bring you the first trailer for Sony/MGM’s Robocop remake, which is either an intriguing new take on relevant source material, or a dry anal raping of a classic, your childhood, and all that is holy, depending on your perspective. Directed by Elite Squad‘s José Padilha (YAY!), rated PG-13 (BOO!) and starring The Killing‘s Joel Kinnaman (Boo-urns?), it hits theaters February 7th, 2014. The plot involves drones now. Ooh, ripped from the headlines. (Raped from the headlines?).

The kick-ass cast includes Gary Oldman, Michael Keaton, Abbie Cornish, Jackie Earle Haley, Michael K. Williams, Jennifer Ehle, Jay Baruchel, Marianne Jean-Baptiste and Samuel L. Jackson.

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.

Not sure if… I would buy for a dollar.

It’s definitely a new take on the material, and the iconic robo-talk of the original is gone, in favor of a Robocop who’s more in touch with his human form, but is controlled by subtler means to give him “the illusion of free will” (message!). I’m on the fence. I hate the idea of a PG-13 critique of fascism, but I like the director and cast – especially Sam Jackson as the TV host guy – enough to give it a chance. Either way, it was nice of Detroit to stay as believable as a crime-ridden dystopia as in was in 1987 so that they didn’t have to change the setting. Consistency like that is undervalued.

[via TheFilmStage]