Category Archives: Film

“THE MIRACLE OF THE LITTLE PRINCE”— An Influential Book and Language


An Influential Book and Language

Amos Lassen

 “The Little Prince” by Antoine de Saint-Exupéry was published in 1943. In those almost 80 years, it has become one of the most important books in history  with relevance that  goes far beyond popularity. The simple story has deeper meanings which  have allowed it to be adapted into over 300 languages, making it the most translated book in the world next to the Bible. It has become an invaluable resource in keeping cultures alive.

“The Miracle of the Little Prince” looks at four of these languages – Tamazight from the Sahara, Sami on the border of Norway and Finland, the ancient Aztec language of Nawat from El Salvador, and Tibetan. We meet the people who were passionate enough to translate the novella and find out why the story is important to them and what it means to their culture.

Director and cinematographer Marjoleine Boonstra brings us the story of the book that becomes a story of pictures. The cinematography is beautiful and provides a very personal glimpse of the isolated regions we visit. The editing is slow and precise with long shots and scenarios so that we can thoroughly absorb them. We see the daily lives of the Berber people in Morocco and the hard-working women of El Salvador, those that live a simpler way of life and whose existence is tied to their environment and everything within it.

These languages of these cultures are exceedingly fragile and are diminishing by the generation. Nawat is spoken by less than 300 people – most of whom are now between 80 and 90 years old – after most native speakers were massacred by the Spaniards in 1932. Similarly, Tamazight and Sami weren’t taught in schools – and Sami was banned from being written or spoken – when ‘The Little Prince’s’ translators were studying. Although Tibet is now “autonomous”, it is still law to use Chinese rather than Tibetan for all official meetings and events. The documentary also captures the beauty of their existence and the frailty of these places and their people.

The film focuses on the parallels between ‘The Little Prince’ and the lives of those who have translated it. The story is loved for its innocence, as the Prince visits a foreign place with great curiosity and without judgment, a reflection of the goodness of the human spirit. The Berber are able to identify with the desert setting from the story, but also much more; they are an ancient culture, one of the oldest civilizations in the world, yet have never known warfare. We see the book being translated by three female speakers of Nawat, as they and linguist Jorge Lemus attempt to preserve a language that has almost been erased; a challenge with such an ancient dialect that no longer grows and adapts, and doesn’t even have a word for “rose”, a major element in the story. Tibetan translator Tashi Kyi sadly explains, “Language defines a person’s personality. It’s difficult to separate language from identity.” She and story editor and writer Noyontsang Lamokyab left Tibet and can never return. They now live in exile in Paris and teach hundreds of people back in Tibet the traditional language using WeChat.

 “The Miracle of the Little Prince” examines the cultures whose story “The Little Prince” belongs to, and gives us a time capsule of their dying languages and civilizations. We see the relationship that these people have with their environment and everything living within it.

Divided into four “chapters,” the film opens at dawn in the Sahara Desert as the book’s famous epilogue is read in French in a voice-over. We meet a Berber family coming out of their tents, milking their camels, preparing breakfast, and setting out for school in a nearby village.

Another passage is read in Tamazight by its Berber translator Lahbib Fouad, who speaks about his childhood, when he was forced to learn Arabic in school. He has dedicated his life to preserving his native language for the next generation.

The film’s most fascinating section is set in the arctic reaches of Finland and introduces Sami translator Kerttu Vuolab, who describes how her parents sent her to boarding school after her sister’s drowning. There she was bullied because she could not speak Finnish, and she sought refuge in the library where she read “The Little Prince”. She says that it gave her friendship and consolation. When she was a university student, she decided to translate Saint-Exupéry’s masterpiece into Sami.

In El Salvador, linguist Jorge Lemus works with three elderly indigenous women to translate the book into Pipil (Nawat). In the wake of a 1932 massacre by government forces, survivors were so fearful of being caught speaking the language.

The fourth section with Tibetan translator Tashi Kyi and story editor and writer Noyontsang Lamokyab reminds us that “It’s difficult to separate language from identity.” If one’s language is being erased, who is there?



Meet Arvo Part

Amos Lassen

Before watching Paul Hegeman’s documentary about Arvo Part, I had never heard of him and while I still do not know a lot about him, I am challenged to learn more. Estonian composer Arvo Pärt (b.1935) composed numinous music which we hear through several ensembles in various countries of Europe and even Africa.

The compositions are “solemn and tranquil, evoking cathedral-like spaces and the timelessness these holy places contain. To say they’re spiritual is almost an understatement.”
Beginning the early 1980s, Manfred Eicher of ECM Records began introducing Pärt to larger audiences with such albums as “Tabula Rasa,” “Arbos,” and “Miserere.” They found acceptance beyond the borders of classical music. The film contains parts of interviews with many musicians and conductors as they try and to verbalize what Pärt’s music means to them. These include Tõnu Kaljuste, Candida Thompson, and Daniel Reuss. We also see Pärt himself at various rehearsals as he listens to and makes suggestions as to how the groups should sound. We see him with the Cello Octet Amsterdam where the musicians are clearly entranced and enchanted by his presence and totally respectful. As I wrote, Part’s compositions are spare and ethereal, sublime and spiritual. Pärt is completely serious when it comes to conveying the essence of his work.


There is one sequence where his music is being performed by all-black musicians in Africa. The performers are reverential and matches the music. We do not learn much about Arvo Pärt, the man, however. We do learn that Pärt was composing in a very different manner during the 1960s and ‘70s and then stopped and developed a new style, the one that came to define him— tintinnabulation.

There is really just a peek at Part but it does let us know  that he is quite a musical treasure. Hegeman avoids a typical biographical recounting of the 83-year-old maestro’s prolific life and we learn little of his past, his process or what makes him tick. He is considered “the most performed composer of our times” who remains a low-profile guy who lives to create his music.

“TATTOO UPRISING”— A Look at Using Ink


A Look at Using Ink

Amos Lassen

Tattoos have most definitely come out of the closet in the last few years as people use ink to mark bodies with indelible designs. It was not that long ago that tattooing was relegated to minorities in society yet today, tattoos are everywhere. In “Tattoo Uprising”, we get an overview of tattooing, “from Biblical references and early Christian practices to the voyages of Captain James Cook and the ever-evolving image of the tattoo in the Western world.”

 Director Alan Govenar began work on this film in 1980 and it features some of the most extraordinary people of the tattoo world: including Ed Hardy, Stoney St. Clair, Cynthia Witkin, Calamity Jane, and more, as well as an unforgettable appearance by filmmaker Werner Herzog, who allows a rare glimpse at his Ed Hardy tattoo. It was filmed by documentarian Les Blank, who also appears on camera.

From antiquity to the present, the film reveals the artistic and historical roots of today’s tattoo explosion. We meet fascinating characters and Govenar explains that, while in college several decades ago, he met an Ohio tattooist named Stoney St. Clair who was  a disfigured older man with a Confederate flag in his shop and several swastikas within his designs . He was keeping old artistic traditions alive years before tattooing was rediscovered. As he made his film, Govenar met not  a young Ed Hardy, whose techniques impressed the older man, he also met Blank, who helped him and loaned money to finish production.

Through Blank we meet Werner Herzog, who has a tattoo of a tuxedoed Death singing, i a flame-eating, sword-swallowing decorated man, a sideshow performer who sings of cultural prejudice against those with tatted arms.

For those who want just a sampling on tattoos, this is a good place to start. We are introduced to the evolution of the art of ink and see  things we have never heard about. worse, and here may see sides of the art’s evolution they’ve never heard of including full-body compositions of Jamie Summers, aka La Palma, who died young but left stunning work behind, the designs associated with Gus Wagner, “a character out of Melville” who reportedly learned his trade while a merchant seaman in Java and Borneo.

What we are constantly reminded of, throughout the film is society’s disapproval or acceptance of body modification. Govenar even looks to the Bible to find mixed messages. It is not until its last few minutes that the doc starts trying to make a case for that “uprising” that the title promises

“VIGILANTE: The Crossing”— A Crime Drama

“VIGILANTE: The Crossing”

A Crime Drama

Amos Lassen

In Barbados we meet ex-con Dexter Gooding (Kirk Brown) who has been deported from the United States. He returns to his home in Barbados and sees that his country is engulfed in crime.  He is guilty of his own past crimes yet does not want to see his country destroyed. He becomes a vigilante for justice but soon comes to odds with Amy, a white Barbadian woman (Malissa Alanna), who uses a polar opposite approach to helping Barbados. The country is embroiled in racial prejudice. Out of this comes a love and hate affair and a shared mission.

Bakers Village, Gooding’s home town is dying amid the crime that surrounds it.  There is not much left of a police force and what there is is highly out-gunned and out-numbered. Rape, murder and robbery are ruining what is a beautiful paradise. By using the style of a  Robin Hood, Gooding is determined to rid the town of all criminal activity.  To do so ne must act ruthlessly but then he meets Amy. We have contrasts between black and white, rich and poor, upper and lower class. As man and woman come together, the distance between  race, class and social prejudice erupts violently and threatens the mission.

I am not a fan of action films but I found myself totally engrossed here. Not only is the action totally engrossing, so is the love story. We see what happens when opposites collide and come together and it is all very thrilling.

“THE BELLS OF ST. MARY’S”— The Priest and the Nun


The Priest and the Nun

Amos Lassen

“The Bells of St. Mary’s” is the newest addition to Olive Film’s Signature Collection.

Father O’Malley (Bing Crosby) is assigned as the new pastor of New York City’s financially-strapped St. Mary’s church and its parochial elementary school. The housekeeper Mrs. Breen (Una O’Connor) lets him know  that the nuns there are rebellious and actually pushed the previous priest into a wheel-chair and a rest home. Sister Mary Benedict (Ingrid Bergman) is the school’s principal and the Mother Superior and she is upset that the school building is falling apart. She prays that the wealthy owner of the new office building being built next to theirs, Horace P. Bogardus (Henry Travers), will donate his building to the church. When Father O’Malley speaks with Bogardus, he learns that unless the church agrees to sell him the school to use as a parking lot he as a board member will request that the city council condemn it.

We see a number of exchanges between the priest and the nun in which they differ over teaching methods; they help bring together a broken marriage, a bully and O’Malley’s softening the heart of Bogardus and get him to donate the building to St. Mary’s by convincing him that he’s only got a few months to live and would really be remembered for this. The students of St. Mary’s put on a revised modern stage version of the Nativity, adding a chorus of “Happy Birthday” to Jesus’s birth; and finally Father O’Malley has to deal with Sister Benedict being transferred to a lighter church duty in a place with a better climate because she has tuberculosis. It is all quite full of sentiment and good performances.

Bergman’s Sister Mary Benedict is gorgeous acting and Bing Crosby is excellent as O’Malley. We see them handle conflicts via their divergent tactics and it is all quite corny today yet under the surface, it’s a story of love fostered through social work, and between two celibate social workers.

This was the highest-grossing film of the 1940s aside. Director Leo McCarey made the film as a tribute to Sister Benedict’s namesake, his aunt who died of typhoid. It’s a time capsule of a mid-century, masculine Irish Catholic worldview. It was a time when there was a close relationship between the movie industry and the Church.

There are no extras on the Blu ray disc but there is a booklet features an essay by critic R. Emmet Sweeney that  analyzes the power dynamics between the “strict and assertive” nun and the “amiable reformist” priest.

“A FEAST OF MAN”— Dark and Delicious


Dark and Delicious

Amos Lassen

  Two of my favorite topics—food and satire—come together in the dark new comedy, “A Feat of Man” We have had satiric films about cannibalism before “Eating Raoul” and “Delicatessen” to name two and they never get old. So when you still want more from your holiday table, sit down and watch this.

Gallagher (Laurence Joseph Bond) was a wealthy and eccentric New York playboy who loved to make trouble but died unexpectantly. His closest socialite friends,  -Dickie (Jesse Rudoy), Wolf (Chris Shields), Judy (Katey Parker), and Judy’s fiancé, Ted (Frank Mosley) are called to Gallagher’s  country home overlooking the Hudson to see a viewing of his video will. Things don’t go quite as Wolf, the executor of the estate, had planned. We see that Gallagher’s posthumous wish is to test his dearly beloved friends— each will become a millionaire overnight if they can unanimously agree to eat his dead body and the group, has until the end of the weekend to reach a decision.  I bet you can guess what comes next.

Director Caroline Golum gives us a sex farce that is filled with resentment of the rich and pokes fun at social manners. You can never really be sure what is going to happen here next. The characters become somewhat annoying but remain fun throughout.

We can see by Gallagher’s home that he lived the high life, a representation of the culture of entitlement in this country. Important issues are discussed as the characters discuss whether or not they will comply with the will. We also get bedroom hopping, door-slamming and lots more that you can imagine what happens when future heirs come together but with an added catalyst. There is a final twist and I bet you cannot get what it is. It has an anti-establishment agenda that just might make you scratch you head a few times. The film has been nominated for the Independent Visions Award at the Sarasota Film Festival. It includes  a cameo from Troma’s Lloyd Kaufman.

“INDIAN EPIC”— Legendary, Lavish Cliffhanger from Fritz Lang


Legendary, Lavish Cliffhanger from Fritz Lang

Amos Lassen

 “Indian Epic” is “A sweeping adventure filled with tigers, snakes, romance and the camp-connoisseur favorite Debra Paget in more than three hours of expressionistic color and wild plot developments await.” It is “A clear precursor to the Indiana Jones series…Perhaps Lang’s most open-aired use of color, and wonderful, late-period entertainment.”

Fritz Lang who lived in exile from Hollywood for some twenty years returned to his native Germany to direct a lavish two-part cliffhanger from a story he co-authored almost forty years earlier. Taken together,  1959’s “The Tiger of Eschnapur” and “The Indian Tomb” are known as “Fritz Lang’s Indian Epic”.

Lang had been operating outside the Hollywood system and given more freedom and resources than he had seen in years. He returned to remake the exotic adventure “The Indian Tomb”, which he originally helped to write in 1921 but didn’t have the opportunity to direct himself. With gorgeous and breathtaking location shoots, a large international cast, elaborate sets and the danger and treachery of the jungle, Lang used evocative images and montage that proved him a virtuoso of film form. 

In “The Tiger of Eschnapur”, Western architect Harold Berger (Paul Hubschmid), was called to India by Chandra, the Maharaja of Eschnapur and he falls in love with the beautiful temple dancer Seetha (Debra Paget), although she is promised to the Maharaja. Their betrayal ignites the wrath of a vengeful Chandra, who is fighting his own battle for power with his scheming half-brother, Ramigani, leading to the lovers’ daring escape into the desert.

In Part Two, “The Indian Tomb”, the lovers are rescued by sympathetic desert villagers, only to be later given up for ransom. Seetha is captured and sent back to Eschnapur, where she must perform a death-defying and erotic temple dance to prove her innocence. Meanwhile, Ramigani incites a revolt against the Maharaja and uses both Berger and Seetha as pawns in his plot to seize the throne. 

 The film was originally released in America as “Journey to the Lost City”, a radically condensed 90-minute version. Now these exotic masterpieces are finally presented in all their original splendor, featuring over 3 hours of breathtaking cinematography and cliff-hanging suspense, in this new 4K restored edition.


  • Audio commentaries by film historian David Kalat
  • The Indian Epicdocumentary
  • “Debra Paget, For Example”, a video essay by filmmaker Mark Rappaport
  • 20-page booklet with an essay by film scholar Tom Gunning

Founded in 2002 as one of the first-ever subscription film services with its DVD-of-the-Month club, Film Movement is now a North American distributor of award-winning independent and foreign films based in New York City. It has released more than 250 feature films and shorts culled from prestigious film festivals worldwide.  Film Movement’s theatrical releases include American independent films, documentaries, and foreign art house titles. Its catalog includes titles by directors such as Hirokazu Kore-eda, Maren Ade, Jessica Hausner, Andrei Konchalovsky, Andrzej Wajda, Diane Kurys, Ciro Guerra and Melanie Laurent. In 2015, Film Movement launched its reissue label Film Movement Classics, featuring new restorations released theatrically as well as on Blu-ray and DVD, including films by such noted directors as Eric Rohmer, Peter Greenaway, Bille August, Marleen Gorris, Takeshi Kitano, Arturo Ripstein, King Hu, Sergio Corbucci and Ettore Scola. For more information, please visit Visit for more information about Film Movement Plus, the new subscription streaming service from Film Movement.

“JAKE SPEED”— Not Quite a Legend Yet More Than a Myth

“Jake Speed”

Not Quite a Legend Yet More Than a Myth

Amos Lassen

When her sister is taken by a gang of white slavers, Margaret (Karen Kopins) needs a hero in order to bring her home. It is here that we meet Jake Speed (Wayne Crawford), a hero of pulp thriller novels who now comes into the real world. With Margaret and his sidekick Desmond Floyd (Dennis Christopher), Jake goes after the kidnappers in a southern African country in the midst of their  civil war. However, it soon turns out Jake got much more than he planned for when he learns that the ringleader of the slavers is his own arch-nemesis: the wicked and totally insane Sid (John Hurt).

“Jake Speed” is a film that is filled with romance, death-defying stunts, spellbinding scenery shot on location in Zimbabwe, an off-the-wall performance by the late John Hurt and lots of cheesy humor and acting. But it does prove to us  that without a worthy foe, there is no such thing as a hero.

I love a good bad movies. The movie begins with some young people being abducted during a trip to Europe, one of them being chased in one of those ridiculous movie chases where people run for miles from a criminal, never really trying to escape or screaming for help. We then go to a family dinner, where the family of a kidnapped girl are speaking with “government nitwits” about how to get her back. The grandfather suggests contacting fictional characters, especially pulp novel hero, Jake Speed. It then just so happens that an associate of Mr. Speed has convinced him to take their case.

Speed looks like a drunken 1980s college professor and doesn’t even say anything important until he says, “Sometimes you gotta do things the hard way.” “Why?” “It reads better.” Oy, yes this movie is so awful that it is good. It has all what is necessary in a stupid movie — bad dialogue, good actors making bizarre choices and stupid characters making idiotic choices. 

American filmmakers Wayne Crawford and Andrew Lane. share production and writing credits, while the former is the main star and the latter the director. It is a semi-parodic homage to pulp adventure novels.

The synth score by Mark Snow is rather out of place. Director Andrew Lane has little sense of pacing, style or tone. The film is visually unappealing thanks to cinematographer Bryan Loftus’s excessive use of brown that brings out the ugliest aspects of each location.

Crawford isn’t bad at playing the stereotypically cocky hero type but he is an obnoxious character and we are unable to root him on.  Karen Kopins is relentlessly grating and the numerous scenes of Crawford and Kopins’ bickering take up too much screen time and show the lack of any real chemistry between the two. But then, the idea of a paperback hero existing in real life is a neat touch and, occasionally, results in some quite clever pieces of screenwriting. The action scenes are entertaining, especially the finale which features a flight of stairs turning into a slide trap that pulls its hapless victims into a pit of hungry lions.

The main story conceit never works. The gimmick is that Jake and his writer-assistant create a convoluted storyline just for the sake of creating their novels. Nonetheless, I enjoyed the film and will probably watch it many more times. After all, it is all about being entertained and that does not mean that we can’t groan.


  Brand new 2K restoration of the film from the original 35mm interpositive

  High Definition Blu-ray (1080p) presentation

  Original lossless mono audio

  Optional English subtitles for the deaf and hard of hearing

  Paperback Wishes, Cinematic Dreams, a new interview with co-writer/producer/director Andrew Lane

  The Hard Way Reads Better, a new interview with producer William Fay

  Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys

“SLAUGHTERHOUSE FIVE”— Billy Pilgrim Lives…


Billy Pilgrim Lives…

Amos Lassen

Director George Roy Hill’s “Slaughter Five” stars Michael Sacks as the universal hero Billy Pilgrim, who  unstuck in time, finds himself flitting back and forth through his life, including his time as a prisoner-of-war in Dresden and his abduction by aliens from Tralfamadore.

The story is driven by dark ironies drive this story from the circumstances that surround the death of his wife to the fact that the greatest threat to his life during the war is not the Germans but a fellow American. We move back and forth between two storylines; the incidents surrounding the fire-bombing of Dresden and the story of his life after his return home. We become attached to the many characters we meet including Billy’s wartime friend (Eugene Roche), Eliot Rosewater and Howard Campbell.

Past, present and future collide. It all begins in upstate New York, 1968 when Billy finds himself unstuck in time. He travels back and forth across the entire span of his existence, he experiences key events of his life in a random order, including his formative years, the firebombing of Dresden and finally, at some undefined point in the future, he has surreal adventures on a distant planet.

Historically, Dresden is perhaps the biggest case of aerial bombardment in history: some historians estimate that more people probably died in Dresden than when the atom bomb was dropped on Hiroshima. Dresden was mostly left defenseless to bombardment by the British and Americans towards the end of WWII. Later on, Billy Pilgrim becomes “unstuck in time” (his own words) after being held captive in an intergalactic zoo along with a porn star by aliens.

While Vonnegut’s novel is unable to be filmed yet this film captures its essence. 


  Brand new 4K restoration from the original camera negative, produced by Arrow Video exclusively for this release

  High Definition (1080p) Blu-rayTM presentation

  Original lossless mono audio

  Optional English subtitles for the deaf and hard of hearing

  New audio commentary by author and critic Troy Howarth

  New video appreciation with author and critic Kim Newman

  Pilgrim s Progress: Playing Slaughterhouse-Five, a new video interview with actor Perry King

  Only on Earth: Presenting Slaughterhouse-Five, a new video interview with Rocky Lang, son of executive producer Jennings Lang, about the film s distribution

  Unstuck in Time: Documenting Slaughterhouse-Five, a new video interview with behind-the-scenes filmmaker/producer Robert Crawford, Jr. 

  Eternally Connected: Composing Slaughterhouse-Five, a new video interview with film music historian Daniel Schweiger

  Theatrical trailer

  Reversible sleeve featuring original and newly commissioned artwork by Corey Brickley




Amos Lassen

“RoboCop”, director Paul Verhoeven’s Hollywood debut looks at  the future of law enforcement now comes to us definitive Blu-ray presentation packed with hours of brand new bonus features and exclusive collectible packaging.

Set in the not-too-distant future, a newly-transferred Detroit police officer is transformed into an indestructible cybernetic cop after he is dismembered by a gang of thugs in an abandoned warehouse. Reborn as RoboCop he becomes programmed to serve and protect the citizens of Detroit and eliminate the rampant crime in the city streets in order for a massive city-wide reconstruction project can begin. However,  once he has completed his task, he sets his sights on the corruption inside  the corporation that created him.

The story is really nothing special. Murphy (Paul Weller) after being shot to death by an all-powerful drug gang is subsequently used as the guinea pig for a campaign to create robotic cops launched by an all-powerful corporation, OCP. He is placed in a mechanical body and becomes RoboCop and serves his civil duty until a flash from his memory, helpfully jostled by his ex-partner, Anne (Nancy Allen) sends him on a rampage against the gang, their leader Clarence Boddicker (Kurtwood Smith), and his profit-mongering cronies at OCP.

At first the film was considered to be nothing more than a violent action spectacle with muddled messages, it is now seen as a bold black comedy, a satire on corporate excess and capitalism. The film critiques action films, in the guise of an action film and a wild vision of corporate excess and the extinction of the working class.

The human had become a product who gives a dialectic on the concept of corporate efficiency and humanism. .Colors and textures are all excellent and the clarity of the image is detailed and focused. Verhoeven’s movie is filled with lots of drive and packs a powerful punch-to-the-gut. It is a great B-movie yet not always filmed with total precision. Technically it was pretty much state of the art in 1987. Phil Tippett’s stop-motion animation effects are very impressive as is Rob Bottin’s special makeup. “RoboCop” continues to fascinate over the years.


  4K restoration of the film from the original camera negative by MGM, transferred in 2013 & approved by director Paul Verhoeven

  Newly commissioned artwork by Paul Shipper

  Director’s Cut & Theatrical Cut of the film on two High Definition (1080p) Blu-rayTM discs

  Original lossless stereo & four-channel mixes plus DTS-HD MA 5.1 surround sound option on both cuts

  Optional English subtitles on both cuts

  Six collector’s postcards (Limited Edition exclusive)

  Double-sided, fold-out poster (Limited Edition exclusive)

  Reversible sleeve featuring original & newly commissioned artwork

  Limited edition collector’s booklet featuring new writing on the film by Omar Ahmed, Christopher Griffiths & Henry Blyth, a 1987 Fangoria interview with Rob Bottin, & archive publicity materials (some contents exclusive to Limited Edition 


  Archive commentary by director Paul Verhoeven, executive producer Jon Davison & co-writer Ed Neumeier 

  New commentary by film historian Paul M. Sammon

  New commentary by fans Christopher Griffiths, Gary Smart & Eastwood Allen

  The Future of Law Enforcement: Creating RoboCop, a newly filmed interview with co-writer Michael Miner

  RoboTalk, a newly filmed conversation between co-writer Ed Neumeier & filmmakers David Birke & Nick McCarthy 

  Truth of Character, a newly filmed interview with Nancy Allen

  Casting Old Detroit, a newly filmed interview with casting director Julie Selzer 

  Connecting the Shots, a newly filmed interview with second unit director & frequent Verhoeven collaborator Mark Goldblatt

  Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger & Robert Townson

  RoboProps, a newly filmed tour of super-fan Julien Dumont’s collection of original props & memorabilia

  2012 Q&A with the Filmmakers, a panel discussion featuring Verhoeven, Davison, Neumeier, Miner, Allen, star Peter Weller & animator Phil Tippett

  RoboCop: Creating a LegendVillains of Old Detroit & Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast & crew

  Four deleted scenes

  The Boardroom: Storyboard with Commentary by Phil Tippett

  Director s Cut Production Footage, raw dailies from the filming of the unrated gore scenes

  Two theatrical trailers & three TV spots

  Extensive image galleries