1987 – Paul Verhoven’s acerbically violent and satirical sci-fi action film centres on a tragic hero, Murphy, a Detroit police officer mutilated and left for dead on a routine bust. He is imbued with prototype augmentations to become Robocop, new IP of the Omni Consumer Products corporation. He becomes the next line in law enforcement, and the film rides the line between the philosophy of Asimov’s robotic laws, and the excessive violent, swearing, and sexuality of the 1980s.

How does this relate to the Western genre then, is it more than just a sci-fi film? Well, more than anything, Murphy (played by Peter Weller) is the law officer in a town where crime runs riot, the Detroit police department struggle to keep order. His wife and son, who he used to entertain with an old gun slinging trick, leave him alone. He finds himself in a new world, trapped in a half-life, with only his partner…. to stand by him. As Robocop, he is a product, but what the film attempts is to look at what’s left of the man underneath


Pale Rider

Around 1880, a struggling Californian community of families and miners are victims to the oppressive business ethics of company owner Coy LaHood. Charging through town on horseback, LaHood’s thugs leave a path of destruction. A dog belonging to an impressionable young girl, Megan Wheeler, is shot down in cold blood, leaving her alone to bury it in the woods. Afterwards, she prays for a miracle, while a stranger on a white horse rides into town. The stranger is a man of few words, but the six bullet holes in his back say more than words ever could. Clint Eastwood returns to form as the stoic gruff Preacher, who slowly warms to the mining community and vice versa.