Dredd 3D
Released September 7th
Cert: 18
Dir: Pete Travis, Written By: Alex Garland, Based on characters created by Carlos Ezquerra & John Wagner
Cast: Karl Urban, Lena Headey, Olivia Thirlby & Wood Harris
Plot Summary
Mega City One, a post apocalyptic urban sprawl stretching from what was once Boston to Washington DC and under the control of the criminal element. Only one thing stands between them and complete domination, The Judges.
With the power as Judge, Jury and Executioner, Judge Dredd with trainee Judge Anderson (a powerful psychic) enters Peach Trees, a notorious 200 storey high rise under the control of the ruthless drug-lord Ma-Ma to investigate a brutal crime. What ensues is a first day on the job that Anderson will never forget.
Review
Firstly, let’s take care of the elephant in the room. This incarnation of Judge Joseph Dredd is a million miles away from the brash and much maligned 1995 version portrayed by Sylvester Stallone. Whilst not as faithful to the comic strip as die-hard fans may have wished to see, this film gives us a Dredd whose face we never see, who is brutally (and at times sadistically) violent and holds the law above all else.
Anyone who has seen Gareth Evans 2011 Jakarta set film, The Raid Redemption will be very familiar with the plot of this movie. Judge Dredd is tasked with training and assessing Cadet Judge Anderson a powerful psychic who is considered highly valuable by the Chief Judge. Following this assignment Dredd and Anderson enter Peach Trees to investigate a triple murder (a gruesome, punishment killing) and soon find themselves locked in a 200 storey Mega-Block and against a seemingly endless army of goons stand between them and dispensing justice, gaining their freedom in the process.
Like The Raid Redemption, by having such a simple plot structure the film is allowed to indulge in what is essentially ninety minutes of balls-to-the-wall action. There is little room for character development or back-story with so many exhilarating action set pieces shoe-horned in to the running time.
This almost certainly benefits Karl Urban’s Dredd, in particular the authenticity of the character and his stoic implacability within the pages of 2000 AD. To have a detailed back story or deep and meaningful conversations would dilute the mystery and power of the character. What this does mean is that what emotional arc there is rests with Olivia Thirlby’s Anderson.
Thirlby, does well in what is a relatively limited role, she is able to convey the doubt and remorse that Dredd refuses to acknowledge and gives a human face to the Judges. It helps that this judge does not wear her helmet for the majority of the film, informing Dredd that ‘it interferes with her psychic abilities’ his deadpan response that ‘a bullet might interfere more’ raised significant laughs in the theatre.
What is impressive is the prominence of strong female characters in this movie. From the Chief Judge to Cadet Anderson and most notably Lena Headey’s ruthless prostitute turned drug-lord Ma-Ma. Headey has a career of playing exceptionally strong female leads from her role as Queen Gorgo in Zack Snyder’s 300, the titular role in The Sarah Connor Chronicles (the Terminator TV series) and most recently as Cersei Lannister in HBO’s epic A Game of Thrones adaptation.
As Ma-Ma, Headey is sadistic, brutal and cunning. Ruling through fear and intimidation, Ma-Ma has complete control of Peach Trees and when the block is locked down she uses her power to force the block to take on the two judges and ensuring the residents do not assist for fear of deadly retribution.
As the two prominent female characters, Ma-ma and Anderson represent opposite ends of the effects of power and violence can have on the female psyche. Ma-Ma seemingly as scarred mentally as she is physically, is masculinised by her power and her use of violence her favouring of knives and eye gouging hint at a need to asset herself via penetration which may have been the result of subjugation by her former (now ‘feminised’) pimp.
Anderson by contrast uses physical force, only when necessary and is still hesitant when doing so. For the most part, Anderson’s power comes from her psychic ability. In one scene she renders an interrogation subject almost catatonic through psychic attack. Placing Anderson’s strength in the cerebral gives her a physical vulnerability lacked by Ma-Ma and Anderson is constantly reminded that ‘as a woman’ she should not want to be captured alive.
This take on Dredd is incredibly violent, really earning its 18 certificate. What is all the more disturbing about the violence is the fact that violence and its effects are rendered so, dare I say it, beautifully. The film’s drug Slo-Mo, when used slows time down to one per cent of the normal rate, during this speed change colours seem brighter, liquids become translucent prisms through which light cascades across the screen, never has arterial spray been so exquisitely portrayed.
The effects of the Judge’s Lawgivers (guns which can shoot six varieties of round from explosive fire to armour piercing bullets) are shown in incredibly graphic detail with nothing held back or unseen. The use of violence in this film is very astute, as the petty criminals who live in fear of the Judge’s sentences are placed on equal footing with the innocents who are afraid of the consequences of crossing the crime bosses.
By making the violence so visceral and balletic, the viewer is drawn in and cannot help but enjoy the carnage on display. In doing so the audience is complicit in this society where human life has so little value and gives the more difficult moments of the film a greater resonance as the viewer feels an element of guilt for enjoying the violence so much and in this way can identify more strongly with the characters on screen.
Kiwi, Karl Urban brings a strong performance to title role. His Dredd is hard, unyielding and very, very cool. As a fan boy the moment when Dredd proclaims ‘I am THE LAW!’ is possibly the highlight of the film –it’s a small moment, but one which is handled as authentically as was needed, never becoming arch or over-played. Urban’s choice for the voice of Dredd appears to be Clint Eastwood chewing a bag of gravel which recalls the influence of Dirty Harry during the inception of Dredd and his formative years in 2000 AD’s early run.
What is successful about this version of Dredd is that at times he is as sadistic as those he judges and in the opening sequence his disregard for the collateral damage incurred during a high speed chase hint at the somewhat skewed moral compass at the heart of this character.
The film’s look and sound are excellent and given what would have been a relatively small budget compared to other comic book adaptations the production design, special effects and costumes all achieve an aesthetic that is both grounded in realism but hit at the futuristic elements found on the page. The use of 3D is not obtrusive and contrary to my expectations did not fling bullets or blood at the viewer, but rather immersed the audience in the scenes and has delivered the best use of 3D for some time.
One area that particularly impressed me was in the sound design both during the battle sequences, but more so in terms of the score. The music moves between rock riffs, grind core and twisted dance beats and at times recalls the self composed music from many of John Carpenter’s classic movies.
Indeed this film is heavily influenced by Carpenter. It is impossible not to think of Assault on Precinct 13 when watching Dredd. Whilst not the first film of this type Precinct 13 is the certainly the most influential and its impact on this movie are more than evident.
Two other iconic movies also sprig to mind when watching Dredd, the first being Robocop. Dredd, with his slightly over-sized helmet bears more than a passing resemblance to Peter Weller’s cyborg. In the opening sequence a hostage situation is almost identical to one in which Robocop uses superior technology and firepower to tackle a wood-be rapist. The way in which the building intercom is used by Ma-Ma to dictate her instructions to the various gangs across the block and intimidate the Judges is reminiscent of Walter Hill’s action classic The Warriors.
The most disappointing aspect of Dredd would have to be the script, which given the talent behind it is somewhat surprising. Alex Garland has been behind a number of successful scripts but the level of cheesiness that has made its way on to the screen is shocking. Fortunately the majority is not voiced by Dredd and the little that is, is sold by Karl Urban’s performance, just.
A film that treats its source material seriously (if not entirely faithfully) Dredd is an excellent action movie. Visceral, exhilarating and at times truly stunning to behold, this takes the concept dreamt up by John Wagner and Carlos Ezquerra and gives it grimy and believable life. I for one would be eager to see a sequel, however I am not sure the universe that has been created could easily accommodate some of the more popular arcs such as The Dark Judges which would be a disappointment.
Well worth watching, this film banishes the memory of the previous film outing. Karl Urban is Judge Dredd and Judge Dredd is THE LAW.
My Rating: 8 out of 10 Kevin Williams
