“RoboCop,” from 1987, set in a futuristic Detroit, is a gleeful exaggeration of the anxieties of Reagan-era urban life: the office towers are even more isolated, and their boardrooms more brazenly sociopathic the popular culture is a tick or two more savage and leering the police are more overmatched and the streets more ungovernable. In the bloody, satirical sci-fi films that made his name with American audiences, Verhoeven dealt in a singularly unappealing vision of the future, one both luridly inventive and careful about where not to be imaginative. ![]() It has become clear, in these last decades of decadence, decline, towering institutional violence, and rampant bad taste, that American life is stuck somewhere inside the Paul Verhoeven cinematic universe.
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