Chappie

Violent aggravating hierarchical threats competitively embark in Neill Blomkamp's volatile Chappie, as a success story attempts to enhance his marketability through the creation of something beautiful, through the rearing, of robotic young.

It's not happenin'.

His child is quickly hijacked and then alternatively reared by desperate criminals intent on paying off 20 million in debt.

Instead of delicately nurturing his nascent creativity, Ninja (Ninja) prefers to ignite a trial-by-fire, consequently introducing him to a band of troubled youths, who then proceed to throw rocks at him and actually light him on fire.

The youth think he's a police robot, because his creator, Deon Wilson (Dev Patel), uploaded a humanesque consciousness into a broken down police robot, a part of a robotic police force he also created, young Chappie (Sharlto Copley), who remains unaware of these facts, and defencelessly terrified.

He does learn from his experiences though.

Which leads to a memorable science-fiction comedy.

The script's multifaceted (written by Blomkamp and Terri Tatchell), consisting of criminal and professional diversifications which populate the film with myriad characters at different socioeconomic levels, each of them given plenty of screen time to develop, as they pursue various goals before meeting for a ludicrous showdown in the end.

Solid science-fiction/action series are intertextually woven in, Robocop being the most obvious, but Chappie also acknowledges Die Hard, The Terminator, Predator, Alien, and Transcendence to name a few.

Ninja says, "Yippee ki-yay, motherfucker!," at one point.

Chappie fires at the Moose in the same way Sarah Connor fires at the T-1000 in the final moments of Terminator 2.

When the hunt is on, movements are robotically tracked as if a Predator is stalking prey.

It's co-starring Sigourney Weaver (Michelle Bradley).

And human consciousnesses are uploaded to computers like in Transcendence. 

Transcendence wasn't so solid.

As Chappie comes of age in less than a week, a naive innocent caregiving sense of blossoming chaotic youth awkwardly contrasts the social horror show, the dynamics of which are simultaneously shocking and instructive.

The script has all of these elements but it still fails to impress on some fronts.

There are several characters given the chance to develop but they never really move past their first impressions, apart from Ninja, Chappie, and Yolandi (Yolandi Visser), who do change a bit.

And Deon buys a gun.

Ninja easily goes about acquiring the 20 million he needs to pay off Hippo (Brandon Auret), there's no sense that something could go wrong.

The thugs escape the police near the beginning even though it seems obvious they'll be captured.

Catch 'em. Let 'em break out. Make their escape seem plausible.

Cars are easily stolen and it seems like there's no possibility the thieves could be caught.

All this with a robotic police force patrolling the streets.

It's like hardwired explosive emancipated desperate largesse, highly structured to joyously refute the logical, with a thin layer of predictable rationality sensationally stitching things together.

It's campy.

So campy.

Sort of awful.

But still a must see.

You get the sense that there aren't a lot of public funds available to level things out a bit in Johannesburg, from Chappie.

The people on the bottom have no institutional means of moving up and earning a respectable living.

And the people on top have no means of preventing them from excelling at crime.

And are just as ruthless at pursuing their own respectable livings.

Nice to see fallible robot cops. I for one would prefer not to see robots in uniform.

It's possible that the lack of character development in the film directly relates to Blomkamp's brutal depiction of life in Johannesburg, meaning that there's only one dominating personality available, and if you don't embrace it, you won't survive.

Dog eat dog.

Unless you're brilliant like Deon.

Who ends up becoming a robot.

Because he disobeyed his weapons manufacturing boss.

Social safety net people. Public funds.

It's also possible that they partied way too hard while making this film.

Who knows!