More reflections on RoboCop (aka Paul Verhoeven is awesome, part three of eleventy billion multiplied by the square root of the distance between where I sit and Proxima Centaurii)

So after I published my previous writing about the subject of the most awesome film that has ever been made (and likely will be made, at least during my lifetime), I began to think to myself. I have really not begun to describe why it is so incredibly, utterly, mind-blowingly awesome, at least not on a level that fans can appreciate.

RoboCop is the greatest film ever made (aka Paul Verhoeven is awesome, part two of millions)

In the midsection of 1988, I got sick. I do not mean just sick like a flu, cold, or some other transient virus. I mean sick to such a degree that I stopped being afraid that I might die, and started to fear that I would not. Over a period of two or three weeks, I lost approximately two thirds of my bodyweight.

Before clicking on the jump, take note: much waxing poetic about the incomprehensible awesomeness of this film will follow. Although some elements will be kept unspoken, this will reveal much about the story. Given that the number of times I have watched this film now may even number above a thousand, that does not bother me. However, it might bother you, so consider yourself warned.

Learn to see the “worst” movies!

So here I am, midnight approaches, and I am watching one of the biggest disasters ever financed by Warner Brothers, one of the oldest studios that still exists today. I am watching no less a turkey of a film than Superman IV: The Quest For Peace. Superman IV is a classic example of when a franchise has gone on for too long without any real creative input or the money to pull off the ambitions of the creative staff. In the mid to late 1980s, Christopher Reeve was making it public knowledge that he was tired of playing Superman. After the debacle that was Superman III (or Stuporman ZZZ as Mad Magazine correctly dubbed it), one can hardly blame him. But all of this is beside my actual point.