Dredd
When one thinks of comic book movies, the first images are
probably of Spider-Man swinging across NYC, Iron Man flying around blowing up
other robots, or the X-Men using their special powers together. These are all
decidedly PG-13 affairs, and comic book movies have gotten the stigma of being
labeled child’s play in some circles, the recent gritty Batman movies
notwithstanding. But there are many comic properties out there for more mature
audiences who crave hard-edged material. While there haven’t been many good
movie versions of those out there, “Dredd” is here to turn the tides for comic
fans that want to see the hard-hitting violence of its source translated
onscreen.
After some background exposition establishing that most of
the United States has become consumed by radiation and one gigantic city was
built along the entire East Coast, we learn that crime had become so rampant
that the police force was transformed into the “judges.” The judges are
basically cops with the ability to determine crime sentences on the spot and
dispense justice as they see fit. Judge Dredd is one of the more unforgiving
men on the force, and on a routine murder investigation with his new rookie
partner, Anderson, the two are trapped in a block (essentially a whole
neighborhood in one skyscraper.) The block’s crime lord, Ma-Ma, doesn’t want
the judges to find out about her new drug line, and orders them dead.
Background information aside, the actual plot setup is as
simple an action movie premise as you can get, and has been used in others such
as “Die Hard” and the recent “The Raid.” What sets “Dredd” apart from those two
accomplished endeavors is its sense of style and the world that has been
established. It’s a science fiction world for sure, and yet the sets and
costumes are so well designed in ways that feels both futuristic and grittily
believable at the same time. It’s an unforgiving environment, a place where the
likes of Dredd are perhaps necessary to apply their brand of first-hand
justice.
In those cases, the movie is violent and fun in the same way
that old-school action movies were, when killing nameless henchmen in the most
creatively bloody ways was the name of the game. “Dredd” is like those
shoot-em-ups, but with a distinct modern twist. Ever since “The Matrix,” slow
motion is tool that has been overused to the point of parody. “Dredd,” however,
applies it in a way that feels fresh and organic, as the drug that Ma-Ma is
pushing slows the brain down to 1% it’s normal speed. At times, the bad guys
will take a hit of the stuff, only to unexpectedly have Dredd and Anderson’s
bullets ripple through them and spill copious amounts of blood everyway in
gloriously stylized fashion. It’s a neat twist on an otherwise formulaic trope,
showing that, despite the numerous action scenes, the movie has a semblance of
a brain behind it.
Writer Alex Garland slyly places the audiences sympathies
with Anderson rather than the titular character, allowing us to see through the
mindsets of both his machine-like efficiency and Anderson’s conscience. Because
Anderson grew up near the eradiated zone, her mind has developed psychic
abilities, making her a very useful asset for the judge force, allowing forms
of interrogation and battle tactics not possible before. Through her, we see
what this clearly fascistic system looks like to an outsider, adding subtle
moments in between the bloodletting where the movie develops a sense of
self-awareness to its ridiculous excesses.
The character of Judge Dredd does not have the same level of
public awareness in the U.S. as he does in the U.K., where the comic originates
from, and judging (no pun intended, I swear) by the low box-office returns, he won’t
have it any time soon. This is unfortunate, as “Dredd” is an action movie that
has been getting many unexpectedly positive reviews, and I will gladly join
that battle cry. It’s very recommended for comic and action fans, and if you
end up liking it too, spread the word around.
3/4
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