ROBOCOP 3 (1993) MOVIE POSTER, AUSTRALIAN ONE SHEET, ROBERT BURKE
Size AU One Sheet (27" x 40")
RoboCop 3 (1993) Australian One Sheet Movie Poster, Starring Robert John Burke, Nancy Allen & Rip Torn, Directed by Fred Dekker is in Very Fine Condition. Movie Poster and Condition...
RoboCop 3 (1993) Australian One Sheet Movie Poster, Starring Robert John Burke, Nancy Allen & Rip Torn, Directed by Fred Dekker is in Very Fine Condition.
Movie Poster and Condition
Condition: This Australian One Sheet Movie Poster presents in Very Fine condition, there are two 1cm tears, one appears towards the bottom of the left hand side and the 2nd one appears on the right hand side middle, there are fold lines which have flattened out due to the poster being stored in a rolled position. This Poster is currently stored rolled and will be carefully packed and shipped in cylinder.
Movie Synopsis
RoboCop 3, directed by Fred Dekker and released in November 1993, marks the third instalment in the iconic RoboCop franchise, though it took a notably different direction from its predecessors. Set in a dystopian near-future Detroit, this science fiction action film features Robert John Burke stepping into the role of the titular cyborg police officer, replacing Peter Weller who had portrayed RoboCop in the first two films. Burke found himself wearing the original suit built for RoboCop 2, though being taller than Weller, he reportedly found it uncomfortable during the lengthy shoot.
The screenplay was written by director Fred Dekker alongside legendary comic book author Frank Miller, who had previously co-written RoboCop 2. Miller, creator of celebrated works like Sin City and The Dark Knight Returns, incorporated major themes from his original rejected draft of RoboCop 2 into this third film. His involvement brought a distinctive comic book sensibility to the production, including characters inspired by his own graphic novel creations, such as Otomo, the cyborg samurai villain, who echoed his Ronin series.
The film's narrative centres on the Omni Consumer Products corporation and its ruthless campaign to demolish Old Detroit to make way for Delta City, a futuristic corporate-controlled metropolis. To achieve this goal, OCP employs a private paramilitary force called the Urban Rehabilitators, or "Rehabs," commanded by the merciless Paul McDaggett, played by John Castle. These forces brutally evict residents from their homes, sparking an underground resistance movement comprised of displaced Detroit families.
RoboCop joins forces with the civilian resistance after a devastating personal loss - the death of his partner, Officer Anne Lewis, portrayed by Nancy Allen in her final appearance in the franchise. Allen, one of only a handful of actors to appear in all three films, reportedly was not enthusiastic about returning and specifically requested her character be killed off to exit the series. This emotional turning point drives RoboCop to have his programming altered by disgruntled OCP engineer Dr. Marie Lazarus, played by Jill Hennessy, who removes his Fourth Directive that prevented him from acting against OCP executives.
The supporting cast includes veteran actor Rip Torn as the CEO of OCP, legendary actor Mako as the head of the Kanemitsu Corporation (the Japanese conglomerate that acquires OCP), and CCH Pounder as Bertha Washington, a resistance fighter whose character name references Martha Washington from Miller's "Give Me Liberty" comic series. The film also features a young computer prodigy named Nikko Halloran, played by Remy Ryan, who forms a bond with RoboCop and assists the resistance with her exceptional hacking skills.
Production on RoboCop 3 commenced in February 1991 and wrapped in May 1991, with filming taking place entirely in Atlanta, Georgia, rather than Detroit or Dallas where the previous films had been shot. The production made extensive use of downtown Atlanta locations and abandoned buildings that were scheduled for demolition to make way for facilities for the 1996 Summer Olympics. This fortuitous timing allowed the filmmakers to create authentic post-apocalyptic urban environments without the need for extensive set construction. The production reportedly brought approximately ten million dollars to the Georgia economy, with roughly eighty per cent of the cast and crew comprising local Atlanta residents.
One of the most notable aspects of RoboCop 3 was its shift to a PG-13 rating, a dramatic departure from the R-rated violence and dark satire that defined the first two films. This decision proved controversial among fans and critics, as the profanity, graphic violence, and mature themes that characterised the franchise were significantly toned down or removed entirely. Orion Pictures made this choice recognising that RoboCop's fanbase included many younger viewers who had been drawn to the action figures, video games, and animated series. However, this softer approach diluted much of the gritty, dystopian atmosphere that made the original film a cult classic.
The film introduced several distinctive elements, including a jetpack prototype that allows RoboCop to fly, and featured robot ninjas as antagonists, giving the film a more fantastical, comic book aesthetic. RoboCop 3 also holds the distinction of being the first film to use digital morphing technology in multiple scenes, showcasing the emerging visual effects capabilities of the early 1990s.
Despite completing production in 1991, RoboCop 3 faced extensive release delays when distributor Orion Pictures went bankrupt. Originally scheduled for release in summer 1992, the film languished on the shelf for over a year. Columbia TriStar Entertainment, which owned international distribution rights, released the film in Japan, South Korea, and the Philippines during this period, where it performed moderately well. The film finally premiered at the Charleston International Film Festival on 4 November 1993, before receiving its wider theatrical release.
Composer Basil Poledouris, who scored the original RoboCop film, returned for this third instalment after Leonard Rosenman had composed RoboCop 2's score. Poledouris brought back many of the iconic musical themes from the first film, providing a sense of continuity and nostalgic connection to the franchise's roots.
The film opened to mixed critical reception and modest box office results. With a production budget of approximately 22 million dollars, RoboCop 3 earned only 10.6 million dollars domestically in the United States and Canada, though international receipts brought the worldwide total to approximately 47 million dollars. Critics noted that whilst the film delivered entertaining action sequences and maintained some of the franchise's satirical edge, it lacked the visceral impact and social commentary that made Paul Verhoeven's original such a groundbreaking achievement.
RoboCop 3 represents a fascinating snapshot of early 1990s action cinema, attempting to broaden the franchise's appeal whilst navigating corporate bankruptcy and changing audience expectations. Though it may not have achieved the critical or commercial success of its predecessors, it remains an important piece of the RoboCop mythology and a notable example of how major film franchises evolved during this era of Hollywood filmmaking.
To find out more about RoboCop 3 (1993) click here to go to IMDB.com.
Special Notes
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.