The biggest question that pops up in your mind after you are done watching this remake of Paul Verhoeven’s sci-fi classic is: why? Released in 1987, the extremely violent Robocop was considered one of the best films of the year; featuring strong characterisation and a highly compelling narrative that contained multiple layers of thought-provoking commentary on media, corruption and capitalism. But what made Robocop truly unique was its lead character, good cop Alex J. Murphy, who after being violently attacked, is transformed into a cyborg that struggles with his identity as he is left more machine than man.

José Padilha’s 2014 version of Robocop is serviceable, but when you are remaking such a revered film, anything less than excellence is a disappointment. To be fair though, Padilha, gives it his best shot — pun not intended.

Robocop tries to include every element of what made the original film a benchmark in science fiction, but the only area where it truly betters the original is in the often electrifying action.

Many films have tried to replicate the thrill of playing shooting video games by placing viewers behind the gun, but the style has never worked due to overuse and clumsy camerawork. Perhaps these directors should be taking lessons from Padilha. Not only does the Brazilian film-maker use the first person perspective subtly and sparingly, he also edits it in between other camera angles so the sequences tell a better story.

Often, during the thrilling gun battles the film places viewers behind Robocop’s visor by cleverly framing the scene in an understated red border that doesn’t distract from the action. What’s more, because Robocop’s superiors are often following events through his vision, the switch to first person perspective feels less gimmicky, and adds a heightened sense of immersion.

Here, Robocop goes into overdrive, as our hero often takes on countless heavily armed villains in high-octane gun battles that can be an absolute joy for the Call of Duty generation. One of the most aesthetically appealing action scenes in the film is when the police cyborg engages baddies in pure darkness, and modifies his vision to see heat signatures.

Unfortunately, Robocop isn’t so hot in other areas. Robocop’s trainer, Rick Mattox (Jackie Earle Haley), a military expert at the company responsible for Alex’s transformation, OmniCorp, often teasingly refers to the cyborg as Tin Man. Sadly, he is right. Although actor Joel Kinnaman (Alex Murphy ) does a convincing job as the tragic character, the film simply lacks the heart and soul of the classic, and is often as cold as the unfeeling machines it features.

Like the classic, Robocop also offers interesting commentary on media bias and weapons technology through TV host Patrick “Pat” Novak (Samuel L. Jackson), who clearly has an open bias in favor of drone technology, and preaches it through thinly veiled patriotism which is mixed with fear mongering. In terms of narrative, these are the most interesting scenes in the film, and it is real a pity that the rest of Robocop isn’t as arresting.