“Robocop” is a movie struggling from an identity crisis. On one hand, director Jose Padilha’s reboot of the 1987 sci-fi film presents itself as obvious commentary about today’s society, where drone warfare is at the forefront of military issues. On the other hand, Padilha tries to breathe fresh life into the franchise by focusing on “Robocop’s” origin.

One could say “Robocop” succeeds more as the former than the latter, but even then the film isn’t focused enough to be effective. While there are a few redeeming elements to “Robocop,” there are plenty other movies to spend your money on.

Set in the near future, “Robocop”’s commentary on the morality of military drone use comes almost exclusively from Samuel L. Jackson’s character Pat Novak, a television show host who supports domestic drone use instead of human peacekeepers. He energetically points out the effectiveness of robotic soldiers overseas, and argues why that should be the case stateside.

Novak is obviously designed as social commentary, as he literally looks the audience in the eye and talks about the pros of drone use. These meta-segments feel detached from the rest of the film, even when Robocop’s actions become Novak’s conversation topic. Scriptwriters Joshua Zetumer and Edward Neumeier are perhaps at fault here for not effectively focusing on social commentary as one of “Robocop’s” major themes, choosing instead to only partially dedicate time and energy to the issue.

As an action movie reboot, “Robocop” leaves much to be desired. Joel Kinnaman is not convincing as Alex Murphy, the police officer who eventually becomes the titular character. Kinnaman’s most convincing scenes are when he is supposed to be emotionless, which doesn’t bode well for his acting abilities. Even when he finds out he is almost all machine in one of the movie’s most chilling scenes, Kinnaman’s reaction isn’t convincing, considering the weight of the moment. Abbie Cornish as Clara, Murphy’s wife, also doesn’t bring her A-game, and the chemistry and complex emotions Alex and Clara are supposed to emote don’t translate well on screen.

The movie’s strongest cast member is Gary Oldman as Dr. Dennett Norton, the scientist who creates Robocop. Oldman is as versatile and impressive as always, and his emotional weight toward his technological creation gives “Robocop” its emotional center. Like Kinnaman and Cornish, however, cast members Michael Keaton, Jackie Earle Haley and Jay Baruchel deliver average performances, causing “Robocop” to lose what little momentum it had.

The visuals in “Robocop” feel average as well. While there are some extended actions scenes that are shot well, the visual effects seem somewhat blurry throughout the film. Everything from Murphy’s robotic appendages, to explosions and drone models feel rushed, lacking the prerequisite polish on which action blockbusters depend. Like its casting and story structure, the film’s visuals suffer from lower-than-desired production values.

Overall, “Robocop” will most likely not please fans of Peter Weller’s classic hit, as its unfocused script and largely weak casting prove too detrimental to be thoroughly enjoyable. Not even Oldman’s exceptional performance is enough to save his movie from mediocrity. Perhaps if Padilha had decided whether or not to focus solely on social commentary or rebooting the franchise would “Robocop” have turned out enjoyable. As it is, “Robocop” is a movie that should be saved for DVD, as it is not quite worth the price of admission.

Grade: C

Nobody told “The Lego Movie” directors Phil Lord and Christopher Miller that a movie based on a children’s toy might not interest adults, but the duo defied convention and successfully created a surprisingly rich, wonderfully animated film about the popular building bricks. Boasting a prolific voice cast, clever plot and plenty of charm, “The Lego Movie” may not just be the best animated movie so far this year, but the year’s best film overall.

Chris Pratt voices Emmet, a happy-go-lucky construction worker who tries too hard to fit in with society. Suddenly chosen as “The Special” — a prophesied Lego figure who will prevent the world’s destruction by the evil Lord Business, voiced by Will Ferrell — Emmet leads a ragtag group of Lego mini-figures on a wacky, quirky, and completely watchable adventure spanning several Lego worlds.

Supported by the voices of Liam Neeson, Morgan Freeman, Charlie Day, Elizabeth Banks, Will Arnett, Alison Brie and Nick Offerman, the cast of “The Lego Movie” is one of its many pros. The plot centers on creativity and being yourself, a welcome message for children, but Lord and Miller crafted “The Lego Movie” in a surprisingly adult way. There are very few truly “kiddie” moments, and the film’s emotional payoff is definitely geared more toward parents. Kudos to writers Dan and Kevin Hageman for creating a screenplay that serves both children and adults so well.

“The Lego Movie” features simply incredible animation; not only does each Lego piece and character mini-figure have photorealistic qualities, such as accurate reflections and high-res textures, but the computer’s re-creation of stop-motion animation is charming and unique. It is refreshing to see a movie strive for distinction in a genre increasingly geared toward complete photorealism. Also unexpectedly good is the action sequence cinematography; advanced camera work is utilized as characters dodge weapon fire and explosions while hastily assembling Lego sets; the sheer amount of action onscreen can be truly impressive.

The Hagemans should be praised for their screenplay’s humor. Only a few moments are meant solely for kids, while the majority of jokes, sight gags and characters moments are enjoyable for all ages. The superb voice cast delivers excellent banter and witty dialogue amid entertaining sequences, resulting in a consistently chuckle-worthy running time. Most of the main cast have experience in comedy, so this quality is not surprising.

Incredibly, “The Lego Movie” doesn’t have any glaring flaws to speak of. The film’s second act starts to drag a bit right before entering the third act, but this is a relatively minor complaint given the overall fast-paced nature of “The Lego Movie.” Indeed, the first act is lightning-fast in introducing characters and the villain’s diabolical plan, and the second act’s majority is action-packed across several locales. Perhaps best of all, the film’s conclusion is heartwarming, and rises above typically cliché children’s movie endings.

“The Lego Movie” serves as a perfect tribute to what Lego represents. Encouraging kids to be creative and self-confident, “The Lego Movie” certainly fulfills its adolescent requirements. However, it simultaneously serves adults with a creative, emotional tale that will keep them laughing throughout.

The cast and crew of “The Lego Movie” obviously strived for high production values; incredible CGI, excellent voice acting, and a surprisingly deep plot combine to create the perfect family movie. Considering these qualities, it is unsurprising that a sequel has already been green-lit. People of all ages will certainly look forward to more of Emmet’s wacky adventures.

Grade: A

David Crosby of Crosby, Stills and Nash fame feels no shame in admitting that his newest album, “Croz,” will not sell millions of copies.

“I don’t think kids are gonna dig it,” Crosby said in a recent Rolling Stone interview, “but I’m not making it for them. I’m making it for me.”

Indeed, the 73-year-old has no reason not to make a personal album at this stage in his life, and “Croz” proves to be a calming, insightful look into Crosby’s varied experiences. The album’s intimacy is promoted through the fact that Crosby worked with his son, James Raymond, in Raymond’s garage studio in California, and the resulting lyrics are personal and hitherto private. The father-son duo have an unsurprising personal chemistry through the album, making “Croz” a delightful, mellow and perceptive look into Crosby’s life.

Each song represents a stage or moment in Crosby’s life, and this method proves to be deeply personal. For example, “If She Called” details Crosby observing a group of prostitutes, and throughout the song he is questioning and reflecting on their life choices. Unusual material compared to mainstream hits, but again, that’s not what “Croz” is about. The listener gains insight to Crosby’s prolific experiences, and “If She Called” is just one example of Crosby’s willingness to detail his good and bad experiences.

“Set That Baggage Down” is an obvious recollecting of Crosby’s time in Alcoholics Anonymous. From the very first lyric of this song, “That trunk is filled with dusty air / Ghosts that lived and still don’t care” is perfectly representative of Crosby’s dealings with his past mistakes and his efforts to fix them. In addition to delicate lyrics, Crosby fashions this track with a catchy distorted guitar riff, carefully placed underneath his lyrical reflection. When Crosby said in the Rolling Stone interview, “I have this stuff that I need to get off my chest,” songs like “Set That Baggage Down” are surely what he was talking about.

It is important to note Crosby’s musical skill on “Croz.” Contrasting his youthful voice with the decidedly age-appropriate lyrics, Crosby emotes reflection as only an older person can. Likewise, his guitar playing is subtle yet skillful, striking a careful balance with his emotional, weighty stanzas. “The Clearing,” “What’s Broken” and “Radio” are perhaps the most upbeat songs on the record, and even then their instrumentals don’t overwhelm Crosby’s vocals. This musical and lyrical dichotomy proves that Crosby was dedicated to creating a personal, insightful album first and foremost, and a popular hit second.

“Croz” never drags in its musical quality. Each song is important, something Crosby oozes throughout his carefully laid tracks. “Dangerous Night” and The Clearing” are two songs that accent the relationship between Crosby and his son. The album’s last track, “Find a Heart,” sees Crosby making a final plea for the listener to find love in life, a topic in which he seems authoritative. Lastly, “The Time I Have” is a slightly morbid and melancholy track about where Crosby would like to see his life go moving forward — another moving, intimate song that reveals more about Crosby’s personality and stance on life. The listener never feels overwhelmed by or dismissive of this weighty topic, which is a testament to Crosby’s songwriting ability.

In his relatively old age, David Crosby has released an album that is certainly not designed to be a bestseller. Using his life as a creative outlet, “Croz” reveals more about Crosby’s attitude and history than any album before it. “Croz” will certainly satisfy Crosby’s lifelong fans, but perhaps more importantly, Crosby himself seems satisfied now that he has thoroughly expressed himself. While the album is consistently listenable and relaxing, only die-hard fans will likely find “Croz” a worthwhile listen.