Our RoboCop Remake - (Full Movie) from DaveAOK on Vimeo.

José Padilha's remake of Paul Verhoeven's RoboCop opens in theaters tomorrow, but a very different kind of RoboCop has been making the rounds online. Our RoboCop Remake is a crowdsourced remake of the 1987 original, combining the work of more than 50 individual filmmakers and teams into a crazy-quilt love letter to Verhoeven's near-future dystopia.

Anchored by clips from the original, the scenes from Our RoboCop Remake cover a remarkably broad range of media and styles. You'll see RoboCop rendered in fairly direct shot-by-shot remakes, but also puppets, two musical numbers, hand-drawn animation, drag, and modern dance—and a lot of rescripting. "Filmmakers were told which plot points to make sure they hit," producer David Seger says. As long as they covered those, and a few common visual threads—Officer Anne Lewis, RoboCop's former partner, always appears in a blonde wig and blue cap and shirt, for instance—they were free to stray as far as they saw fit.

Our RoboCop Remake is Seger's second crowdsourced remake: in 2009 and 2010, he and Tim Marklevitz produced Our Footloose Remake, an homage to the 1984 Kevin Bacon vehicle. "I remember thinking we should've moved faster on doing a Total Recall or a Carrie remake," Seger says. "When RoboCop's release date got pushed back I knew we had to get our act together."

For RoboCop, first dibs went to the Footloose participants; Seger assembled the rest of the lineup through what he describes as "Los Angeles low-budget filmmaking friendships." Many are filmmakers active in Channel 101, a monthly short-film festival founded by Rob Schrab and Community creator Dan Harmon. Participants sent Seger their top picks; he assigned scenes based on those choices or moved participants around based on their specific strengths. "I seem to remember the bathroom scene where Dick Jones and Bob Morton confront each other being a scene that everyone wanted," says Seger. The urinal standoff ultimately went to Tyler Spiers and Jeremy Cohen, who skewer '80s business drama with a setting that hovers between public restroom and elite cigar club.

The result is a mixture that's more interesting than even. Some of the scenes are tied to thin gimmicks—dubbed-over costumed infants stop being funny after a few lines—while others, like the intricately choreographed dance number that replaces Murphy's original death scene, are brilliant microproductions in themselves. Some stand out for their technical wizardry (one team built an almost perfect replica of the original ED-209 droid); others, for their straight-up surrealism and commitment to their gags. Nearly every review that's been written thus far highlights Fatal Farm's contribution, which features an impressively long series of graphically exploding penises, which Seger describes as "a real stand-out," and which, if nothing else, drives home just how long three minutes can last. (It goes without saying that Our RoboCop Remake is not remotely safe for work, although workplaces unconventional enough to let you get away with watching a feature-length film on the clock are probably also more forgiving of frontal nudity, exploding or otherwise.)

What's the next remake on Seger's docket? "Nothing is lined up. I think we'll at least wait a year before doing another one," Seger says. He's considering moving away from piggybacking on Hollywood remakes. "We've joked about Point Break," he says. Karate Kid is another possibility. Either way, it'll be a challenge for Seger to find a film that has the legacy and lasting resonance of the original RoboCop. "RoboCop has always been one of my favorites," said Seger. "I think it's just one of those 80's practical-action gems that a lot of us twentysomething and thirtysomething filmmakers have a special place in our hearts for"—a place that's populated with puppets, drag kings, stop-motion explosions, and a whole lot of dancing.