Casting Old Detroit, an interview with casting director Julie Selzer on how the film’s ensemble cast was assembled

Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 surround sound option on both cuts restoration of the film from the original camera negative by MGM, transferred in 2013 and approved by director Paul Verhoeven Director's Cut and Theatrical Cut of the film on two 4K (2160p) UHD Blu-ray™ discs with Dolby Vision (HDR10 compatible) Analog, featurette on the special photographic effects, with interviews with Peter Kuran and Kevin KutchaverYeah, it’s a scary film. It’s a horror movie. I’ll say that Bill [Skarsgård] has so transformed, I’m fearful that he might not get the credit that he deserves because he’s just… he’s not there,”. We get the best of both worlds. Onboard computer assisted memory and a lifetime of on the street law enforcement programming. Paul Verhoeven was considered a cutting edge filmmaker when RoboCop was originally released. With a line up that includes Flesh + Blood, Total Recall, Basic Instinct, and Starship Troopers, it’s difficult to argue with that. A terrific visualist with a penchant for over-the-top violence, he also nailed the action and science fiction genres over the head, while at the same time putting his own personal stamp on his work. It’s also difficult to overlook the satire running throughout RoboCop, particularly with the local newscasts, the commercials in between, and the generic TV show containing the famous catchphrase "I’d buy that for a dollar!"

Edited-for-television version of the film, featuring alternate dubs, takes and edits of several scenes (95 mins, SD only) Composing RoboCop, a new tribute to composer Basil Poledouris featuring film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger and Robert TownsonLastly, additional film elements of the TV Cut version supplied by MGM were scanned at EFILM and graded in 2K at R3Store Studios and are included inserts were sourced from lower-generation positive elements due to the negatives for these sequences being lost, there is an unavoidable subtle This collection of extras is gargantuan even by Arrow’s obsessive standards. Three versions of the film are included: the director’s cut, the theatrical cut, and an edited TV cut. As a variety of featurettes contrasting the various versions remind us, Verhoeven’s cut was rated X by the MPAA and so trims were made, most famously to the scene where the ED-209 mows down an executive during a conference. (For what it’s worth, Verhoeven is right: The longer, gorier version is funnier, reveling in the sheer pointlessness of this machine’s depravity.) On Disc Two, the audio commentary with Verhoeven, Davison, and Neumeier is the original version recorded in 2004 for the MGM DVD release. Both the original and final theatrical isolated scores are presented in 2.0 DTS-HD Master Audio. The E dited-for-TV V ersion of the film has been assembled utilizing newly-restored 35mm elements in English 2.0 DTS-HD Master Audio with optional subtitles in English SDH. RoboCop: Edited for Television examines takes from two TV versions of the film, as well as outtakes. The Split-Screen Comparisons take a look at the differences between all three versions. Arrow Video’s Limited Edition and Steelbook 4K Ultra HD releases of RoboCop give the film plenty of added value with a bevy of bonus materials and a great transfer. Besides a couple of missing extras, the breadth and quality of this release is worthy of an upgrade. It’s about as definitive as RoboCop gets on home video. Highly recommended!

Archive commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical version of the film)Connecting the Shots, a newly filmed interview with second unit director and frequent Verhoeven collaborator Mark Goldblatt