Casting Old Detroit, a newly filmed interview with casting director Julie Selzer on how the film’s ensemble cast was assembled King has had a long run of adaptations as of late. And right when you think that we are out of material from the prolific writer, someone brings another of his stories to the screen. I’m still most excited about someone directing The Library Policeman personally. That story still sends chills up my spine.

In 1995, The Criterion Collection premiered the 'unrated' edition of RoboCop on LaserDisc. The 1987 theatrical release was cut in several scenes to attain an R-rating, and this unrated version restored that footage. The unrated version has subsequently been used for many of the film's DVD and Blu-Ray releases. Joy Behar Calls On Will Smith To "Get In The Ring" With Jada Pinkett Smith On 'The View': "He Sits There And Takes It" life in the streets, where real cops risk their lives to protect a struggling populace that, to the mix (left, right, center, surround). The remastered Blu-ray features only the 5.1 remix in lossless

There aren’t any further details on King’s The Long Walk adaptation but as soon as we hear more we will be sure to let you know. For home cinemas first a Laserdisc and the a DVD from Criterion containing the DC were released. Both releases are long since out of print - but fortunately the DC has been released on several DVD as well as on Blu-ray by now. Close-ups can be very revealing, with faces, eyes and hair really gaining information. Texture on Weller’s face and the stretched latex appliances that join it to the metal and circuitry is, indeed, excellent. We can plainly see the wire that the ED-209’s missile travels along. There are still some reflections of the crew to be gleaned on Robo’s gleaming surface, and on the TV screens in the boardroom. Naturally, the many media breaks and commercials look appallingly soft and low-grade resolution. There was no chance of these ever getting spruced-up.

In the TV we see Clarence and his men, then Murphy on the ground, then Clarence again, stepping to the side. Matt Rife Goes Viral Again For Resurfaced 'Wild 'N Out' Joke That Showed Him Grabbing Zendaya's Face Without Her Consent: "Keep Your Hands Off Her!"The most interesting inclusion here would probably be the television version of the film, presented here in its entirety. It runs about 95-minutes and cuts out most of the graphic violence, even using alternate angles and shots to hide the violence. The foul language is also dubbed out (badly) and it’s about as effective as you would expect. It’s been sourced from a video and is presented in 1.33:1 (naturally) but it doesn’t look too bad all things considered.

Director's Cut and Theatrical Cut of the film on two 4K (2160p) UHD Blu-ray™ discs with Dolby Vision (HDR10 compatible) Director’s Cut Production Footage, raw dailies from the filming of the unrated gore scenes, presented in 4K (SDR) Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 and Dolby Atmos surround sound options on both cutsIf I had one complaint about this extremely rewarding roster of supplements, it would be that there is nothing on Basil Poledouris’ phenomenal score! A passing mention here and there, perhaps, but this is quite a serious omission as far as I am concerned. You just cannot think of Verhoeven’s film without that theme pounding through your mind. Update (December 1, 2019):I mistakenly stated that Arrow carried over everything from the MGM disc. This edition is missing a handful of production featurettes from the time of shooting, and a 37-minute making-of documentary. Though it's a shame that the featurettes aren't here the content of the making-of is pretty much covered in the other features that Arrow have included. Closing In the TV, the long shot after the first gunshot is one frame longer before we see the gun barrel from which another shot is fired. Analog, a featurette focusing on the special photographic effects, including new interviews with Peter Kuran and Kevin Kutchaver

Flesh and Steel: The Making of Robocop runs for 36 minutes and is a fabulously detailed and incisive retrospective documentary. Many people contribute and there is a wealth of trivia revealed. Refreshingly, the disputes and the hardships are not brushed aside and actually take up quite a fair and frank amount of the reminiscences on offer. Excellent stuff. Arrow then finishes off their new supplements with a couple more, starting with a 12-minute tribute to composer Basil Poledouris and the film’s score, featuring interviews with experts Jeff Bond, Daniel Schweiger, and Robert Townson, who all explain how the score morphs and changes with the character losing and finding his humanity. There is then a 13-minute video featuring Julien Dumont showing his collection of RoboCop memorabilia, which actually includes the original RoboCop armour (he bought it thinking it was from the second film only to have it confirmed to be what was used in the first). This feature was a bit of a surprise as it really showcases the art that went into the film’s props, and Dumont even shows how the costumes and props got cheaper looking with each new film in the series (comparing the police uniforms from the first and third film just shows how the amount of effort dropped substantially and the details are less impressive). To be honest, the Deleted Scenes aren’t too grand and would not have really added anything. We get four of them, which can be played in one go, or individually. Bob Morton gets extra airtime in a Robocop press conference, we meet a nun in the street for an interview, we get a final media break excerpt … but, best of all, we get the topless pizza commercial. I can’t help but agree – I’d certainly buy that for a dollar!Taylor Ann Green Confesses That She "Initiated" Kiss With Austen Kroll On 'Southern Charm': "I Caught Him Off Guard" The image is 1.85:1 and it’s encode comes courtesy of AVC. The grain that has always been there in the past remains marvellously and substantially gritty and textured. Occasional shots spike very obviously, and these tend to hail from the extended instances of violence and gore reinstated in the Director’s Cut. The film has tended to look dry and dirty in the past, but this transfer does seem cleaner and sharper without sacrificing any of that hallmark roughness. When Murphy is in his comatose state, and then operated on by the tech boffins so that he can be reborn in robo-evolutionary form, there are some great point-of-view scenes as the white coated people peer callously down into this face. Then, of course, there are Murphy’s agonised memories of his own near-death, and of his wife and child, which the scientists have not been able to erase. However, beyond this, the score sounds, in the main, terrific. It grinds and sizzles and blasts and pummels as it should do, and it’s more emotional moments still sting. Kelley Curran Blames Turner's Penchant for "Self-Sabotage" for Her Soup Scheme Fiasco in 'The Gilded Age' Season 2 Episode 5