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Russ Sheath Reviews DREDD!!


Russ Sheath here as Dredd, the big screen interpretation of the classic 2000 AD character Judge Dredd hits UK screens this week and in the US on September 21st. 
I saw the movie  last week and here's what I thought.
The first thing you have to get through your head is that this movie has no connection to the Sylvester Stallone movie from 1995. I really didn’t want to mention the Stallone interpretation in this review as it seems to come up in every interview that the film makers have taken part in since Dredd was announced, but, to a degree the media will always compare the new to what has gone before. 
I am sure Tim Burton and Michael Keaton had to field endless questions about Adam West back in 1989, but the comparisons end there. The 1995 Judge Dredd movie had no where near the cultural impact of the Batman TV show and its taken several incarnations of the caped crusader for the media to finally put that to rest, even though it may take a millennia for the mainstream media to stop using 'Zap' and 'Kapow' in any super hero related reporting. 
You don't see anyone asking Christian Bale how Adam West influenced his performance of Batman!
So, Dredd may have a sequel or two to get through before the media stop mentioning the the Stallone movie, but lets make one thing clear, Dredd puts 'that' movie to rest, hammers the nails into the coffin and buries it 6 feet under.
This ISNT the Dredd that has gone before and for 99 % of AICN and 2000 AD readers, thats a good thing, right?
So, first impressions....
Urban owns Dredd
Utterly making the character his own, Karl Urban embodies the role and its 35 year history. 
Essentially Dredd hasn’t changed that much in the comic over that time and Urban embraces the characters origins as a 'futuristic Dirty Harry' right down to the voice, which given the characters influences, could only be, in every readers head, Clint Eastwood's growl, cited as a 'saw cutting through bone'. Of course, where Dirty Harry was happy to step outside of the law to achieve his aims, Judge Dredd IS the law.
Dredd, although an experienced and senior Street Judge, doesn't have the same renown as he does in the comics, where, throughout the Mega City his name is feared and revered in equal amounts. The feeling you get from Dredd is that within the justice system he is a figure of renown but outside, on the streets, Dredd is another faceless embodiment of justice. That approach suits this film, makes the character more believable and embeds the extremes of living in Mega City One, a place where you don't need to be revered or a legendary figure to be at the sharp end of a desperate populace. 
Mega City One is a vast urban expanse with a population of 400 million all living in a city that stretches the eastern coast of the United States. Ravaged by nuclear war, the survivors live in the Mega City,  divided into sectors and inhabiting blocks or mega blocks, 200 stories high.
The first thing that you notice is that Mega City One is a much more grounded and real environment than that of the comic or indeed the 1995 movie. This sets a scene that is less fantastical and allows the viewer a greater buy-in to the world of Dredd, a world that is not too distant from our own. 
The vehicles, fashions and technology are recognizable or an advance on the world we know and as Karl Urban said in his upcoming interview with AICN, this take on Mega City is more futuristic than the science fiction world of previous incarnations. that being said, all we have seen of Mega City One is a single ‘sector’ and the world that we know from the comics may yet exist in future instalments.
Whether a budgetary concern, which, given the modest 40 million budget for this film is likely, or a storytelling choice, being able to relate to the world that Dredd inhabits is essential and also lets you focus on the main concern of the movie, the characters and It's testament to writer Alex Garland that this movie works. 
Garland embraces the movies budget and makes it work for him and the story, focusing on character and what has been described as a 'day in the life of a Judge'. You really do get a sense of this being all in a days work as the world outside plays little part in the main action of the movie. This focus on the characters of Dredd and Anderson allow us to get to know them, to root for them and can only lay the foundations for a more expansive future instalment.
If you know Dredd then you know that the world he inhabits is policed by the Judges, the police force with ultimate responsibility for bringing justice to the streets of Mega City One. In Dredd we are introduced to the Judges as Dredddispenses justice, illustrating not only the powers of the Judge, those of judge, jury and executioner but also the world the judges inhabit. 
We see a world that is downtrodden and where there doesn't seem to be a lot of hope, just existence. In this movie we don't see any extremes of wealth or poverty, just poverty and a society surviving and existing. Alex Garland offers a world that justifies the extremes required of those who uphold the law, it draws the viewer in and makes the world Dredd inhabits all the more believable.
Visually the world of Dredd draws comparisons to the 2009 movie, District 9, looking through that same lens at a hot, uncomfortable world where people simply exist, the film never looks cheap, just dirty and gritty.
As Dredd returns to the Hall of Justice, the towering headquarters that symbolically towers over the Mega City, we meet Olivia Thirlby as Rookie Judge Anderson, a recruit who has failed to meet the requirements to become a judge and who seems destined to wash out but for one distinct aspect, she is telepathic. 
Not telepathic on an 'X-Men' scale, even though she is referred to as a mutant, but with an ability to read a subjects intent as well as to place suggestion in their minds, a skill set that makes her valuable enough to the Judicial system that they assign Anderson to Dredd for evaluation, for one last chance to make the grade.
Thirlby is fantastic as Judge Cassandra Anderson who in her own way has as much weight on her shoulders as Urban being the most significant supporting character from the comics and effectively the eyes through which we view life in Mega City One. In the comics Anderson was the humanistic, less dogmatic voice of reason and here, in Dredd, Thirlby's Anderson provides questions and doubt in contrast to Dredd black and white world. 
With the majority of the movie on their shoulders the chemistry between Urban and Thirlby is apparent and essential with the relationship between the two working incredibly well. 
Anderson is less 'quippy' and challenging of her counterpart than her comics version, fitting given her rookie status in the movie and even though a judge, is our closest embodiment of a 'normal person' living in Mega City One. There is a world weariness to her as she expects this last opportunity to prove herself to be a futile effort when paired with the embodiment of justice. 
Dredd and Anderson respond to a homicide at 'Peach Trees' a 200 story megablock and home home to 60 000 people essentially living in a monolithic slum. Ruling Peach Trees is Ma-Ma, crime boss, gang leader and peddler of slo-mo, a drug that slows perception to a fraction of its reality and that is gripping Mega City One.
It's here that the 3D aspect of the movie comes into play. Call me a sceptic but the box office bolstering ability of 3D, for most movies, doesn't justify subjecting the movie to the process, the only movie that justifiably has used 3D to its fullest, eye melting glory being Transformers: Dark of The Moon.
Dredd adds to that notably short list of movies where the 3D plays a role in the story telling process. Michael Bay put the viewer in amongst the skydiving 'Bayhem' in TF 3 and in Dredd viewers experience the effects of slo-mo first hand in a hypnotic, heightened reality. Similarly, the 3D in Dredd transports the viewer into the mind of the telepathic Anderson, the 3D very much enhancing the viewing experience and putting the viewer inside Anderson's head.
We also meet Ma-Ma. Portrayed by Sarah Connor and Game of Thrones veteran Leana Heady in another fantastic casting choice and who gets to show another side of nastiness in comparison to the plotting, almost sympathetic Cersei Lannister. Here, as Ma-Ma, Heady gets to unleash the anger and angst that we only get glimpses of from the simmering, scheming Cersi. we really don't get to see enough of Heady which is really, the films only failing.
Trapped in the locked down megablock and with no outside communication, Dredd and Anderson's only choice is to battle their way through almost 200 levels of bad guys to to summit of the the block and Ma-Ma.
Grim determination propel Dredd and Anderson through Peach Tree's their lead suspect in tow and even in the most desperate moments Dredd intent on upholding and dispensing justice. it's a thin line between parody and accepting Dredd, but Urban pulls it off in spades being kept grounded by Thirlby's Anderson.
This is Dredd's movie and In turn Urban's movie, embracing Alex Garland's spartan script without movie star prevention and even encouraging Garland to thin out Dredd's dialogue. 
As fans of Dredd and readers of the lawman's adventures in 2000 AD the lead actor and writer bought a passion and intent to see this movie done right, and they have, for all intents and purposes fulfilled that dream and that of thousands of 2000 AD fans.
Readers Talkback
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  • Sept. 4, 2012, 10:22 a.m. CST


    by Geoff

    Kill me in 3D if ya don't like it

  • Sept. 4, 2012, 10:23 a.m. CST

    I think, and It has already had comparisons

    by Geoff

    that people will compare this to the Raid: Redemption

  • Sept. 4, 2012, 10:23 a.m. CST

    Who is Russ Sheath? Has he ever reviewed for AICN before?

    by AlienFanatic

    Maybe I should just take a Brit's word for it, since after all Dredd is a Brit comic, but from the trailers I already hate Urban's voice in it. (I enjoy Urban a lot as an actor, so this isn't just a case of hate the actor hate the movie.) Maybe the trailers just suck and the film is great. But this one review seems suspiciously glowing to me.

  • Sept. 4, 2012, 10:24 a.m. CST

    needs a little fresh water and fertilizer around here for this plant

    by girugamesh

  • Sept. 4, 2012, 10:25 a.m. CST

    Fuck fuck fuck fuck fuck fuck fuck fuck yeah! Bring it!

    by UltraTron

  • Sept. 4, 2012, 10:26 a.m. CST


    by JMoe

  • Sept. 4, 2012, 10:28 a.m. CST

    alienfanatic re: Russ

    by Merrick

    He's written for us quite a few times before. Including our Comics section.

  • Sept. 4, 2012, 10:30 a.m. CST

    Good lord

    by MrDexter

    do high schools in the US even teach basic English composition?

  • Sept. 4, 2012, 10:30 a.m. CST


    by Raptor Jesus

    This isn't a review it's propaganda.

  • Sept. 4, 2012, 10:31 a.m. CST

    The reviewers name sounds like a prophylactic

    by Geoff

    Speaking of which, does Urban take his Helmet off?

  • Sept. 4, 2012, 10:31 a.m. CST

    Whatever happened to Danny Cannon?

    by Joe

  • Sept. 4, 2012, 10:32 a.m. CST

    If it smells like a plant...

    by Bradly Durant

  • Sept. 4, 2012, 10:33 a.m. CST

    I have a good feeling about this movie.

    by Rakesh Patel

    seriously looking forward to watching this.

  • You should dread me

  • "This is Operation Dreadnought. I'm Dredd, and you're nought", "Allow me to judge you", "You're not sending me into the courtroom".

  • Sept. 4, 2012, 10:35 a.m. CST

    Been waiting 35 years for this


    I am 41 and grew up with 2000ad and Dredd. I am so glad this has had positive reviews as I feared a flop would be the end of Dredd in hollywood and that wouldn't be fair as there is so many stories to tell. Thankyou Alex Garland.

  • Sept. 4, 2012, 10:35 a.m. CST


    by virgin_eyeballs

    This site is where grammar goes to die.

  • Sept. 4, 2012, 10:36 a.m. CST

    Vhut khill de crihminahls? De lahwmahstahh!!

    by UltraTron

  • Sept. 4, 2012, 10:37 a.m. CST

    In muh wheekin kundishun. Ahm noh mahtch forah de haingel gang.

    by UltraTron

  • Sept. 4, 2012, 10:37 a.m. CST

    You have me at "I'm the law"

    by RedLeaderStandingBy

    My ass will be there on the opening weekend. After the major let down that was TDKR, we need a new urban (see what I did here?) badass comic book character.

  • Sept. 4, 2012, 10:39 a.m. CST

    Oh, Judge Death for the sequels

    by RedLeaderStandingBy

    Just saying...

  • Sept. 4, 2012, 10:41 a.m. CST

    Chicks dig the lawmaster. This is why Strontium Dog works alone.

    by UltraTron

  • Sept. 4, 2012, 10:42 a.m. CST

    Leather studded swinging chain dildo on outside of dredd's codpiece

    by UltraTron

  • Sept. 4, 2012, 10:43 a.m. CST

    Unlike the version in the comics...

    by Lampers

    How many times does this review acknowledge that the film deviates significantly from 2000AD and yet spends an indecent amount of time slagging off the 1995 film? So, we've all (apparently) got a massive problem with a major movie star daring to show his face in a studio action film, but you can deviate from the comics in any other way you like? Right? Just don't take off the helmet. The double standards on display here are farcical. Stallone's Dredd wasn't perfect, granted. But it was VERY authentic in terms of look and narrative. They got the tone wrong, and this one looks like they may have nailed it. Yay. But IF we have to keep slagging off the first one (which in case you couldn't tell, I actually quite like) at least do so based on its actual shortcomings. And review the new one on the same level playing field. Sacrifices had to be made to bring both visions to the screen. Let's not pretend this is vintage Dredd even though they've swapped out xx% of the DNA. Rant over.

  • Sept. 4, 2012, 10:45 a.m. CST

    The part where he's like "You ready rookie?...You lok ready!"

    by DarthBlart

    Really throws me off. I look at the girl and it's just some armorless, thin, highschool girl without a weapon, and she's just like ... "yeah." It makes the movie look super ridiculous. I love Urban, I love the future. butttt I don't know about this one. Plus Dredd looks like he can't see shit under his helmet.

  • Why would they. They had Keaton, Kilmer, and Clooney to draw comparisons to. This guy makes no fucking sense so it's hard to take his review seriously. I immediately thought of The Raid after viewing this trailer. That's the comparison you should be worried about. I'm sure Karl Urban is great and from what I've seen it will probably be a fun ride, on Netflix. And just because this guy has written for AICN before doesn't disqualify him from being a plant. He could just be a regular plant.

  • Sept. 4, 2012, 10:47 a.m. CST

    she doesn't look ready at all.

    by DarthBlart

  • Sept. 4, 2012, 10:48 a.m. CST

    I repeat the claims of PLANT also.

    by Lampers

    Just re-read the review and damn it reads like a press release. Insider, no question.

  • that's because you can't see shit in those helmets. Odds are urban can't see shit in the Dredd helmet either. So yes. You are correct. Now ya gotta remember that helmet is supposed to have a panoramic phalanx of tech built into it allowing him to see through objects like doors. So maybe the film will address that. If not you'll have to use your imagination like you did in starwars when you imagined that the troopers had some tech inside their helmets similar to vaders. Before Luke put one on and dispelled that saying that he couldn't see shit. We clear? Didn't think so because none of this makes much sense.

  • Sept. 4, 2012, 10:56 a.m. CST

    100% on RT right now

    by Keith

    15/15. Including several mainstream reviewers. Promising. Having read through the reviews, it seems that few people think it's great, but that everyone thinks it's good.

  • Sept. 4, 2012, 10:56 a.m. CST

    Karl Urban is an inspired choice.

    by albert comin

    And i'm hopeful that this time we will get a Judge Dredd movie that does makes justice to the comic. The Stallone movie was alright, but it was more a typical blockbuster then a representation of the comic onscreen. And Stallone made the cosmic error of removing the helmet (which he came to regreat), a mistake that it seems this new movie does not make. Colour me interested.

  • Aaaand all credibility is gone.

  • just cheese bullshit and no costume for Dredd making him just stallone and shiiiiiiiiiiiiiiiiiiiiiiiiitttttt

  • Sept. 4, 2012, 11 a.m. CST

    Question for lampers...

    by Neil Harrison

    ...have you read 2000ad?

  • Sept. 4, 2012, 11:01 a.m. CST

    I'm very happy my first impressions are confirmed!

    by Judge Anderson's kinky boots

    This film is going to absolutely Drokking rule! At last a proper Judge Dredd film. Only three more days for us luck ones in Brit-Cit! D-Day is coming! :-)

  • Sept. 4, 2012, 11:02 a.m. CST


    by CuervoJones

    Judge Dredd with no humor. WTF

  • Sept. 4, 2012, 11:03 a.m. CST

    Not seen a bad review yet for this

    by RocketFuckingMan

    And there are plenty to choose from. Dark horse of the year.

  • Sept. 4, 2012, 11:04 a.m. CST

    It has humour!

    by Judge Anderson's kinky boots

    It's just of the very blackest kind!

  • Sept. 4, 2012, 11:04 a.m. CST

    What's the grounds for the Plant accusations?

    by Darren Maher


  • Sept. 4, 2012, 11:05 a.m. CST

    Can't wait for this...

    by Andrew Coleman

    Don't care if people say it's like The Raid. Don't care if every positive reviewer is called a "plant" because immature fucks can't get over the fact people can like things. This movie looks badass. This month is pretty tame movie wise besides this and Looper so why not see it once or twice?

  • Sept. 4, 2012, 11:05 a.m. CST

    Russ Sheath?

    by coolfan123

    Sounds like a secret agent. "Ah, there you are, Sheath. Got a new mission for you. Some rotter has made a new Judge Dredd film but forgot to stick the word 'Judge' in the title. Jolly bad show, don't you think? Go over to DNA Films and sort them out. Give them a right good thrashing!"

  • Sept. 4, 2012, 11:06 a.m. CST



    Stallones helmet coming off would not have been a problem if it was the ONLY thing wrong with the film. I agree the look of the film was great, the city, the bikes, the tech, the uniforms. But the script is the main problem it has so many flaws that are not what Dredd is that the helmet just adds to a long list and its the first thing people point out.

  • Sept. 4, 2012, 11:08 a.m. CST

    Re: Danny Cannon

    by SminkyPinky

    Word is he was leaned on heavily by the star (sorry, Sly) and the studio. A lot of people who didn't know the true value of the character. Oh and he's done alright with a highly successful TV producing/writing/directing career. Fanboys and their blinkers...

  • Sept. 4, 2012, 11:09 a.m. CST

    Dick Sheath didn't like it, though.

    by No Respectable Gentleman

  • Sept. 4, 2012, 11:10 a.m. CST

    One thing is certain about this film...

    by coolfan123

    This film will nail Judge Dredd's personality. As for the plot - looks a bit too generic for my liking. But hey, if you can get away with copying Die Hard/Escape From New York, good luck to ya, Garland. We all know he's a hack.

  • Sept. 4, 2012, 11:10 a.m. CST

    Danny Cannon? Yeah. Tv career. Ok. So what is your point?

    by UltraTron

  • Sept. 4, 2012, 11:10 a.m. CST

    I' ve seen it and I can´t believe people likes this movie

    by CuervoJones

    I guess I´m wrong about this piece of sh-ART.

  • Sept. 4, 2012, 11:11 a.m. CST

    Lampers, don't talk shit.

    by Hint_of_Smegma

    The 1995 Dredd was NOT close in any way to the narrative of Dredd's history. It took names of characters, screwed around with their timelines, and had Sly deciding he didn't need to be "Judge Dredd" to make a Dredd movie and spent most of the film dressed as a regular guy. Even at the time, after looking forward to it so long, I couldn't believe how much of a parody they made it. This Dredd has ONLY altered the uniform slightly to make it believable, and the aesthetics of the city and those choice make perfect sense in order to give the film believability. And as there has yet to be one single bad review of the film - every review so far is glowing, and that's pretty much unheard of for any film at this stage prior to release - this Dredd fan who's been in it since Prog 2 is gonna be enjoying the film we've been waiting 35 years for, rather a lot. Anyone not knowledgable about the Dredd story, all you need to know is this film hasn't had a single bad review yet. Even Dark Knight Rises and sundry other blockbusters couldn't manage that this year. So turn out and support some great genre film making.

  • Sept. 4, 2012, 11:11 a.m. CST

    Since when did...

    by Neil Harrison Rob Schneider = No humour?? Maybe the new film can throw in a couple of banana skin pratfalls for ya.

  • Sept. 4, 2012, 11:12 a.m. CST

    The 1995 film

    by Judge Anderson's kinky boots

    The characterisation of Dredd was the biggest crime of the '95 film! All involved got it horribly wrong!

  • Sept. 4, 2012, 11:14 a.m. CST

    I dont believe you.

    by Darren Maher

    Prove me wrong:tell me about a bit that's not in one of the trailers.

  • Sept. 4, 2012, 11:15 a.m. CST

    cuervojones that is

    by Darren Maher

  • Sept. 4, 2012, 11:15 a.m. CST

    Can you be caawld, Chudd Chredd?

    by Joe

  • Sept. 4, 2012, 11:16 a.m. CST


    by Judge Anderson's kinky boots

    Fuck off Scott you limp dick!

  • Sept. 4, 2012, 11:17 a.m. CST

    The best thing about Dredd 3D

    by coolfan123

    Well apart from its incredibly original, inspired title... Heh the fact Britain - Great Britain - is going to show the Yanks a new COMIC BOOK film hero!!!! None of this super power Avengers and vigilante Batman emo/angst stuff but a mean badass cop of the future. America - Judge Dredd is coming and he's taking no prisoners!!!!!!

  • Sept. 4, 2012, 11:18 a.m. CST

    Come on AICN - This is clearly a PLANT!

    by D o o d

    look at all the points he's stressing us to pay attention to! There is such specific detail here to try to get people to see this in a positive light. I claim PLANT on this one!

  • Sept. 4, 2012, 11:19 a.m. CST

    Hey, how about a new Dark Judge called...

    by coolfan123

    Judge Sheath! LOL

  • TSA and all our wonderful rights gone down the shitter. He has the best chance of becoming reality over all other heroes.

  • Sept. 4, 2012, 11:21 a.m. CST

    The comic is a punk satire, this is just an action movie

    by CuervoJones

    There´s nothing close to the League of Fatties or Dredd shooting Santa Claus in this movie. It´s just about two cops in a dangerous building. Whatever, I surrender.

  • Sept. 4, 2012, 11:21 a.m. CST

    Remember to water your plants, kids...

    by coolfan123

  • Sept. 4, 2012, 11:22 a.m. CST

    I dont believe your claim that you've seen it.

    by Darren Maher

  • Sept. 4, 2012, 11:24 a.m. CST

    Plant my arse!

    by chuffsterUK

    Go to Rotten Tomatoes.100% FRESH on 14 reviews so far!

  • Sept. 4, 2012, 11:28 a.m. CST

    Sounds good, Russ . . .

    by Nice Marmot

    . . . but I'll be the judge of that.

  • Sept. 4, 2012, 11:29 a.m. CST

    It´s called "press screening", kid

    by CuervoJones

    Two weeks ago. In Madrid. Spain. If you want pictures of me watching this Amazing Masterpiece of Science-Fiction, call my agent. Now I have work to do. I'm glad you liked the movie, anyway.

  • He does 'Die Hard with mind altering drugs'. That's his take on Judge Dredd's world. A very satirical Judge Dredd would be a hard sell to the international audience. The satire in the Simpsons is made palatable because we can identify with Homer and Bart. It's hard to identify with Judge Dredd. He's a mean son-of-a-bitch lawman (with a hint of humanity). Perhaps a straight action approach - no satire, little over-the-top humour, no colourful perps and citizens - is the best way to reintroduce Judge Dredd? Could be. And if anyone reads 2000AD's Judge Dredd, John Wagner moved away from outrageous satire and wacky storylines. Stories like Origins, Day of Chaos, Tour of Duty, Total War - much more serious than much of 1980s Dredd stuff. In fact, you could say the 1995 story - The Pit - is when John Wagner changed the direction of Judge Dredd. It became less satirical and more about Dredd and the Judges.

  • Sept. 4, 2012, 11:33 a.m. CST

    Then tell me about one aspect that isn't in the trailer,kid.

    by Darren Maher

  • Sept. 4, 2012, 11:33 a.m. CST

    Then tell me about one aspect that isn't in the trailer,kid.

    by Darren Maher

  • Sept. 4, 2012, 11:35 a.m. CST

    or just say what it is that made you hate it so

    by Darren Maher

  • Sept. 4, 2012, 11:35 a.m. CST


    by chuffsterUK

    Is Scojo, who has set out to bad mouth this film from the outset.The fact is, he'll be there on Friday, wanking away...

  • Sept. 4, 2012, 11:36 a.m. CST

    How about SPOILER

    by CuervoJones

    SPOILERish SPOILER ...Cersei impersonating a watermelon in slo-mo (cool shot, by the way)

  • Sept. 4, 2012, 11:37 a.m. CST


    by chuffsterUK

    Hollywood reporter?variety?Are these fanboy reviewers then?Only they gave positive reviews! Oh and referring to Dredd's helmet as a "mask"and his voice being "wrong"? You really have NO idea about Dredd, do you?

  • Sept. 4, 2012, 11:38 a.m. CST


    by CuervoJones


  • Sept. 4, 2012, 11:38 a.m. CST

    Cuervo: how about liar?

    by Darren Maher

  • Sept. 4, 2012, 11:38 a.m. CST

    The film has 100 percent RT rating

    by coolfan123

    The last film to achieve that was The Phantom Menace. It's clear Dredd 3D is gonna be awesome!!!!!

  • Sept. 4, 2012, 11:39 a.m. CST

    The film has 100 percent RT rating

    by coolfan123

    The last film to achieve that was The Phantom Menace. It's clear Dredd 3D is gonna be awesome!!!!!

  • Sept. 4, 2012, 11:44 a.m. CST


    by CuervoJones

    Sorry, I can´t remember that "liar" part. Anyway, where´s the problem? You liked the movie, I did not. Just relax, man.

  • Sept. 4, 2012, 11:44 a.m. CST

    If - the best/worst word in the English language!

    by coolfan123

    If Dredd 3D captures the essence, the magic of the best Judge Dredd stories (Wagner and Grant) then it's done its job. Of course must people seeing Dredd 3D won't give a **** about that, they just want to see a fun film, but loyal 2000AD fans want to see a film that captures the essence of Dredd and his world. The rest - the modern day cars, the cheaper budget - that won't matter that much if it *feels* like the comic strip coming to life. And the reviews suggest it is the comic strip on the big screen. So far, so good....

  • Sept. 4, 2012, 11:44 a.m. CST

    If this revie is a plant:

    by Darthshellers

    Then the reviews I've read in SFX magazine and Empire are also plants. Getting good reviews all round in the uk media.

  • Sept. 4, 2012, 11:45 a.m. CST


    by Darthshellers

  • Sept. 4, 2012, 11:47 a.m. CST

    I only called you a liar because I thought you were lying

    by Darren Maher

    You can prove me wrong quite easily and I will of course apologise.

  • Sept. 4, 2012, 11:47 a.m. CST

    by Darthshellers

  • Sept. 4, 2012, 11:53 a.m. CST

    That Ma-MA comic...

    by coolfan123

    I didn't expect it to be out yet! It's going to be included with this month's Judge Dredd Megazine (out next week). The comic shows the backstory to Ma-Ma and explains how she got such a silly name.

  • Sept. 4, 2012, 11:55 a.m. CST

    RussSheath does not exist in this dojo

    by Cobra--Kai

    I think *Russ Sheath* is a codeword. Its simple. The studio gives aicn $2k and a 1000 word synopsis / positive review to print. That transaction is called a *Russ Sheath* review. Or a Russ Sheath *puff piece* if you want to call it by its alternate title.

  • Sept. 4, 2012, 11:56 a.m. CST

    Judge for yourselves...

    by Odog

    See what I did there? No seriously, all go and see it, we need a full-on Judge Dredd/Dark judges movie in our near future.

  • Sept. 4, 2012, 11:58 a.m. CST

    by Cobra--Kai

    Hang on a minute - for those citing EMPIRE magazine review... DREDD scored 3 out of 5 in EMPIRE. That's alright. Not a classic. Not excellent. Simply alright.

  • Sept. 4, 2012, 11:59 a.m. CST

    Btw, header should be Russ UnSheathes Dredd

    by Odog

    Terrible I know but I'll be here all week unfortunately.

  • Sept. 4, 2012, 11:59 a.m. CST

    100% on Rotten Tomatoes means nothing at this point.

    by D o o d

    give it another week or two!

  • Sept. 4, 2012, noon CST


    by CuervoJones

    Maybe you are just fucking with me, or maybe you are being a little obsessive, but here I go (My English sucks, but I`ll try to please you): SPOILERS (again) That female rookie is not quite confident with her skills, but she has psychic powers. The cops (Judges) take a bad guy as hostage, and this bad guy tries to defend his mind from the chick with rape images. That computer nerd is forced to work for Cersei. The bad guys throw some poor bastards down balcony, and they give them that slo-mo stuff to make the fall longer for them. Cersei makes the same megaphony speech as the bad guy from The Raid . Dredd defenestrates Cersei, and he gaves the bitch that slo-mo drug. We can see her head smashing in slow motion. The rookie pass the test, but she refuses the job (if i can remember properly) I told you, my English sucks.

  • Sept. 4, 2012, 12:05 p.m. CST


    by Darren Maher

    Yeah the trailer was good wasn't it? Ha Ha You big phony, :) Your english is fine by-the-way: 'defenestrate' is one of my favourite words.

  • Sept. 4, 2012, 12:11 p.m. CST

    3 out of 5 "good" in Empire.

    by Darthshellers

  • Sept. 4, 2012, 12:12 p.m. CST

    I AM The PLANT!

    by StatelyWayneManor

  • Sept. 4, 2012, 12:20 p.m. CST

    Painful read. Makes Harry look like Shakespeare

    by Logan_1973

  • This has had nothing but positive buzz since comic-con. It's amazing that you guys will rally behind crap with no characters like the Raid. Yet when a much loved character like Dredd is treated this good in his own movie, you guys refuse to accept it's quality. One has to wonder how you ever became "fans" in the first place.

  • Sept. 4, 2012, 12:23 p.m. CST

    *it's a plant*

    by Darren Maher

    uh-oh. When someone starts his comment with that sentence, then the comment has to be based on ignorance, if not deliberately shabby and mean-spirited.

  • Sept. 4, 2012, 12:24 p.m. CST

    trailer looks badass

    by Tikkanen

    Trailer looks mucho badass. I stood up and clapped in the movie theater. It's about time that Dredd got a proper movie adaptation.

  • Sept. 4, 2012, 12:28 p.m. CST


    by Darthshellers

    Spot on. There's some real sad acts on this site who constantly stram negative crap no matter what it is. I'm amazed that they claim to be film fans!

  • Sept. 4, 2012, 12:29 p.m. CST

    Transfuckingformers has the best 3D? Did you even hear about HUGO?

    by skoolbus

  • Sept. 4, 2012, 12:49 p.m. CST

    Next week:

    by Noisybast

    2000AD Prog 1800 features (amongst a ghafflebette assortment of other zarjaz thrills, Earthlet) a Dredd story named The Death of Dan-E Cannon. Heh...

  • Sept. 4, 2012, 12:54 p.m. CST

    Good Review, Russ knows his Dredd

    by KillaKane

  • A random bunch of whiny kids in a talkback hate a movie they havent seen yet? Yeah, that'll stop me going. Laughable.

  • Sept. 4, 2012, 1:02 p.m. CST

    Cannot wait! Urban is DREDD.

    by Jeditemple

    I'm sold. I am so sold.

  • Sept. 4, 2012, 1:12 p.m. CST

    Stallone's Dredd Rocked

    by SlyWalker

    I don't care what you Nancy Boy comic book lovers say!

  • Sept. 4, 2012, 1:20 p.m. CST

    Positive Review from Huffington Post

    by sauchieboy

    A sign of a good comic movie is it makes you want to dust off those old graphic novels, and get stuck in, or in Dredd's case place a bucket on your head and yell: "I AM THE LAW'. Well, maybe that's just me. Firstly I must admit to being a big 2000AD fan, which itself brings a lot of baggage to the process of watching a film like Dredd. The comics are both dark and silly, including such wonderful characters as Chief Jude Cal who is loosely based on Caligula, and took great pleasure in dipping people in vinegar... But don't we all? Then there was his successor, and one of my personal favourites: Judge Fish (yes, he's a fish). But watching the trailer for Dredd I felt this silliness may be something avoided by the film, and sure enough (no spoilers) Dredd focuses on the gritty and hard aspects of Mega City One. It is also a film that stays close to Dredd (played by Karl Urban), and rookie Judge Anderson (Olivia Thirlby) focusing on the horror of living a single day as a judge. There is however humour in the script, often found through the bleakness of situations and Dredd's dogmatic attitude as judge and executioner. Not a bad call when my earliest memory of 2000AD was opening the comic at Christmas to see Dredd blowing Santa out of the sky. His reason: Father Christmas had illegally entered Mega City's airspace. Mega City One is a place of horror, and Dredd is its spawn. Despite a principle theme of the movie being Dredd's zealous drive to uphold the law there is little back story for the uninitiated. Don't expect to get inside Dredd's head as we live the film from Anderson's perspective, and follow her emotional ark through the adventure. This feels a shame when there is such a wealth of backstory to draw on for Dredd. Even a couple of glimpses into his character would have helped the casual viewer understand his extreme nature. is he a tea or coffee man? It would have been exciting to see more of a variety in Mega City One's inhabitants, something the comic always managed to express. I wanted more mad punks, monks, and cyber gluttons. Still this is firmly an action movie, not a travel show, and we are treated to some great action scenes. Dredd is not a glitzy Hollywood blockbuster, it's a series of brutal brawls. An action horror. The camera lingers on killed henchmen mournfully making us ask 'is Dredd really the good guy?'. That is not to say that director Pete Travis doesn't treat us to some stunning and beautiful moments in the movie which, like in the comic, often come from the last remnants of nature in Dredd's polluted world: The slow spray of water drops, the flow of blood. It is a triumph of the film to include this warped sense of beauty amongst the violence. There are however a few scenes in the film I felt were fumbled, Dredd is not perfect, but these moments are dwarfed by it's achievements. To make us mourn violence, to question brutality, to want kick ass guns. The big surprise of Dredd was I didn't expect it to be a film which would make me revel in it's violence then reflect on that reaction. It's a perfect reboot for the Judge, treating us to his trademark brutality, whilst mourning it's necessity. In short this Dredd fan was most pleased, and certainly won't dread the chance of a sequel. Yes I went there.

  • Sept. 4, 2012, 1:22 p.m. CST

    Positive Review from Daily Star

    by sauchieboy

    "SEND in the clones," shouted somebody before a troop of genetically modified thugs set off to battle Sly Stallone. That puntastic line is one of only a few things I can remember from the last Judge Dredd movie. Mostly, what sticks in the memory is what an ill-conceived mess the 1995 blockbuster was. In a shameless bid to broaden the appeal of cult comic 2000AD, producers had toned down the violence, drafted in a love story and hired Rob Schneider to play a comedy sidekick. Even worse was the sight of the mysterious hero’s iconic helmet being removed to reveal Stallone’s then very bankable mug. Thankfully, lessons have emphatically been learned. Out of those ashes Brit writer Alex Garland (28 Days Later) has crafted one of the most uncompromising comic book adaptations ever made. There’s no cuddly back story, no emotional journey of self-discovery and no star egos catered for (this time Dredd’s helmet stays firmly on). Grim, stylish, relentlessly violent – this is the balls-to-the-wall Dredd movie fans have been waiting for. The setting for 90 minutes of eye-popping 3D action is an irradiated future America where nuclear disaster has left much of the country a dangerous wasteland. The survivors are crowded into the vast Mega City One – a filthy sprawl policed by a troop of super-cops granted the powers to render on the spot life or death sentences. The most feared is Judge Dredd (Karl Urban) – a pitiless killing machine famous for his gravelly voice, steely resolve and pithy verdicts. New recruit Cassandra Anderson (Olivia Thirlby) couldn’t have been assigned a more intimidating mentor to assess her first day on the job. And the pretty pyschic couldn’t have picked a tougher case either– a multiple homicide in a giant tower block. What starts off as a routine investigation quickly turns into a brutal battle with a ruthless drug overlord and her thousands of followers. Ma-Ma (Lena Headey) is a former prostitute who became a legend after she “feminised” a violent client with her teeth. Now her killer grip is on the 60,000 occupants of the Peach Tree megablock. If you’ve seen Gareth Evans’ recent action flick The Raid, this might be beginning to sound a tad familiar. Both involve police trapped in hostile tower blocks, both have a drug boss barking out commands over an intercom and both share a rather unhealthy fascination for highly orchestrated violence. Here director Pete Travis takes movie bloodletting to a new, almost hallucinatory level. In a clever twist, Ma-Ma’s empire is built on a new drug called Slo-Mo, which allows users to experience reality at a fraction of the normal speed. It also allows Travis to craft some jawdropping, slow motion action scenes. In one early encounter, Dredd takes out a gang of gun-toting junkies. We watch from their perspective as the blood gushes and heads splatter. In smooth, super slow motion it becomes weirdly beautiful. As a rule, Dredd doesn’t like to linger over his work too much. Urban’s gruff hardman makes Clint Eastwood’s Dirty Harry seem like a deep thinker. But through nicely-pitched grunts and shrugs, he manages to tease out more than enough black humour to leaven the violence. With only his chin on show, a lot falls on Thirlby (helmets interfere with Anderson’s psychic powers). Her ability to see inside criminals’ heads makes her less keen to blow them apart and she becomes a nice foil to her far less conflicted partner. It’s a great double act for a hugely enjoyable, old-fashioned action movie. Garland and Travis could be another one. The pair didn’t have the budget to take on the likes of Batman, Spider-Man or The Avengers. But through verve and ballsy commitment to the source material they’ve turned out something quite remarkable – the coolest comic book movie of the year. Verdict: 4/5"SEND in the clones," shouted somebody before a troop of genetically modified thugs set off to battle Sly Stallone. That puntastic line is one of only a few things I can remember from the last Judge Dredd movie. Mostly, what sticks in the memory is what an ill-conceived mess the 1995 blockbuster was. In a shameless bid to broaden the appeal of cult comic 2000AD, producers had toned down the violence, drafted in a love story and hired Rob Schneider to play a comedy sidekick. Even worse was the sight of the mysterious hero’s iconic helmet being removed to reveal Stallone’s then very bankable mug. Thankfully, lessons have emphatically been learned. Out of those ashes Brit writer Alex Garland (28 Days Later) has crafted one of the most uncompromising comic book adaptations ever made. There’s no cuddly back story, no emotional journey of self-discovery and no star egos catered for (this time Dredd’s helmet stays firmly on). Grim, stylish, relentlessly violent – this is the balls-to-the-wall Dredd movie fans have been waiting for. The setting for 90 minutes of eye-popping 3D action is an irradiated future America where nuclear disaster has left much of the country a dangerous wasteland. The survivors are crowded into the vast Mega City One – a filthy sprawl policed by a troop of super-cops granted the powers to render on the spot life or death sentences. The most feared is Judge Dredd (Karl Urban) – a pitiless killing machine famous for his gravelly voice, steely resolve and pithy verdicts. New recruit Cassandra Anderson (Olivia Thirlby) couldn’t have been assigned a more intimidating mentor to assess her first day on the job. And the pretty pyschic couldn’t have picked a tougher case either– a multiple homicide in a giant tower block. What starts off as a routine investigation quickly turns into a brutal battle with a ruthless drug overlord and her thousands of followers. Ma-Ma (Lena Headey) is a former prostitute who became a legend after she “feminised” a violent client with her teeth. Now her killer grip is on the 60,000 occupants of the Peach Tree megablock. If you’ve seen Gareth Evans’ recent action flick The Raid, this might be beginning to sound a tad familiar. Both involve police trapped in hostile tower blocks, both have a drug boss barking out commands over an intercom and both share a rather unhealthy fascination for highly orchestrated violence. Here director Pete Travis takes movie bloodletting to a new, almost hallucinatory level. In a clever twist, Ma-Ma’s empire is built on a new drug called Slo-Mo, which allows users to experience reality at a fraction of the normal speed. It also allows Travis to craft some jawdropping, slow motion action scenes. In one early encounter, Dredd takes out a gang of gun-toting junkies. We watch from their perspective as the blood gushes and heads splatter. In smooth, super slow motion it becomes weirdly beautiful. As a rule, Dredd doesn’t like to linger over his work too much. Urban’s gruff hardman makes Clint Eastwood’s Dirty Harry seem like a deep thinker. But through nicely-pitched grunts and shrugs, he manages to tease out more than enough black humour to leaven the violence. With only his chin on show, a lot falls on Thirlby (helmets interfere with Anderson’s psychic powers). Her ability to see inside criminals’ heads makes her less keen to blow them apart and she becomes a nice foil to her far less conflicted partner. It’s a great double act for a hugely enjoyable, old-fashioned action movie. Garland and Travis could be another one. The pair didn’t have the budget to take on the likes of Batman, Spider-Man or The Avengers. But through verve and ballsy commitment to the source material they’ve turned out something quite remarkable – the coolest comic book movie of the year. Verdict: 4/5

  • Sept. 4, 2012, 1:23 p.m. CST

    Positive Review from SFX

    by sauchieboy

    Rest easy, creeps. 2000AD’s fabled Judge is back on the big screen, and there’s no Stallone-shaped disappointment in sight. This is Dredd, and it will blow your head clean off. In the lawless urban sprawl of Mega-City One, highly trained and heavily armed Judges attempt to keep the peace. A triple homicide causes legendary lawman Judge Dredd (Karl Urban) and Judge Anderson (Olivia Thirlby) to investigate the Peach Trees Mega Block, a vast, over-populated tower that’s fallen under the influence of psychotic gang leader Ma-Ma (Lena Headey). Sensing a threat to the production of Slo-Mo, the designer drug that she’s been flooding the streets with, Ma-Ma puts Peach Trees into lock down and sets out to take down Dredd and his untested partner. It sounds simple, but the straightforward plot gives Dredd a sharp focus and unstoppable momentum that makes for a breathlessly entertaining 90 minutes. Crucially, Karl Urban is superb as Dredd. He’s an imposing, authoritarian presence, fighting an unwinnable war against crime with lithe physicality and wry humour. Olivia Thirlby more than holds her own as Anderson; her journey from nervy rookie to assured Judge-in-waiting is at the heart of the film. She’s the perfect human foil to Dredd’s almost inhuman drive, and her mutant abilities add an extra psychological dimension to the pair’s intense ascent of Peach Trees. Alex Garland’s sparse, suspenseful script gets to the core of Dredd’s complex character, and pushes the story along with swift economy. Mega-City One is a feasible day-after-tomorrow horror, full of neon graffiti and bizarrely tattooed gangs, perfectly complimented by a grinding industrial soundtrack. The relentless stream of action sequences feel frenetic, dangerous and creative, making imaginative use of 3D and keeping the heart pounding. Slo-Mo, the drug that has the residents of Peach Trees hooked, is a handy device used to bring a balletic, hallucinatory quality to the carnage, psychedelic colours tracing rounds as they slice through bellies and faces. Be in no doubt, Dredd earns its 18 certificate – it’s brutally violent, detailing the human cost of Dredd’s deadly efficiency with a Lawgiver. Lovingly ripped from the pages of 2000AD, Dredd is an adrenaline-fuelled thrill burst that does Tharg’s finest justice, stays true to its roots and leaves you battered, bruised and hungry for more. Rob Power

  • Sept. 4, 2012, 1:25 p.m. CST

    all the Rotten Tomatoes reviewer are PLANTS !

    by qwsdqwedq sdbcjhdwiuvdh

    it's a fact of life get used 2 it ....alrite, just kiddin

  • Sept. 4, 2012, 1:25 p.m. CST

    Positive Review from Variety

    by sauchieboy

    Grim, gritty and ultra-violent, "Dredd" reinstates the somber brutality missing from the U.K. comicbook icon's previous screen outing, the disappointing 1995 Sylvester Stallone starrer "Judge Dredd." A reboot as drastic as Christopher Nolan's "Batman Begins," this hard-R, sci-fi actioner from director Pete Travis and screenwriter Alex Garland should find an appreciative audience among serious-minded fanboys and gorehounds, while the pic's more extreme elements will likely limit its potential of crossing over to the superhero mainstream when Lionsgate releases it domestically Sept. 21. At a time when most comicbook adaptations try to be all things to all people, "Dredd" makes the radical choice of playing to the base. Dredd-heads disappointed by the creative liberties and concessions to conventionality made by the Stallone version will find little reason to quibble with the determined and unapologetic approach to the one-man judge, jury and executioner here. There's no comic-relief sidekick, no love interest, no movie-star pandering. In a direct nod to the source, this Dredd never even removes his face-obscuring helmet, remaining a stoic and mysterious figure throughout. The action unfolds on a futuristic Earth ravaged by wars and divided into overcrowded urban centers known as Mega-Cities, patrolled by Judges, members of an all-powerful police force equipped with the latest technology and bestowed with the responsibility of rendering life-or-death verdicts at the scene of a crime. The irreproachable Judge Dredd (Karl Urban), who safeguards Mega-City One, is asked to evaluate rookie Cassandra Anderson (Olivia Thirlby), an Academy underachiever who nevertheless possesses extraordinary psychic abilities: She can read minds, a rather invaluable trick for solving crimes. When Dredd and Cassandra respond to a triple-homicide call in a high-rise, they find themselves battling ruthless drug lord Ma-Ma (Lena Headey), a former prostitute who now rules with an iron fist over the 200-story vertical slum. Ma-Ma has evaded capture while supplying Mega-City One with a potent narcotic called Slo-Mo, which allows users to experience reality at a fraction of its normal speed -- but she's never faced Judge Dredd. The film's unforgiving version of Dredd is something of a cross between Christian Bale's Batman and Clint Eastwood's Man With No Name. He's a badass of few words and a gravelly voice. While Urban isn't permitted to reveal much humanity behind the man (we never even get a peek at Dredd's eyes beneath his uniform helmet, let alone his soul), he does a fine job embodying the more mythic qualities of Dredd as an upright law enforcer no lowlife would want to confront. That leaves Thirlby to shoulder the film's emotional core, and the physically unassuming actress proves up to the challenge of a meaty role. Cassandra is as committed to taking down criminals as Dredd, but she also harbors a deep reserve of empathy that stems from being able to see into other people's minds. One of the film's true thrills comes in watching Thirlby effortlessly balance the conflict between a Judge's merciless duties and a psychic's compassionate understanding. Of course, "Dredd" also serves up thrills far less nuanced than its heroine's inner struggles. Relentless carnage bombards the viewer from all sides, even more so in impressively utilized 3D. Heads are smashed, bullets rip through body parts and one larynx is memorably destroyed, accompanied by the throbbing sounds of Paul Leonard-Morgan's bass-heavy original score. Even though both the heroes and the villains prove equally barbarous, there's never any question as to who's good or bad in this black-and-white world. It's only through Cassandra's emotional arc that the audience sees any cracks in the totalitarian justice system. As suggested by the wild shift in quality between his breakout docudrama "Omagh" and underwhelming follow-up "Vantage Point," director Travis is only as strong as his source material. He gets a sturdy B-movie foundation here from Garland, who sets the tone by taking comicbook characters and situations seriously. This earnest approach is evident in tech credits as well, most notably Anthony Dod Mantle's cinematography, which eschews the jittery handheld imagery of Travis' earlier films for more careful compositions. The judiciously spread-out "Slo-Mo" sequences are especially eye-catching. Editor Mark Eckersley gets a workout in a trippy sequence in which Cassandra enters the mind of a remorseless prisoner (Wood Harris), and production designer Mark Digby relishes the details of establishing a functioning city (including a medical center, eateries and even a movie theater) within a massive high-rise.

  • Sept. 4, 2012, 1:26 p.m. CST

    Positive Review from Empire

    by sauchieboy

    Two long shadows fall over Dredd, the second attempt to get 2000AD’s gnarly, grizzled super-cop onto the big screen. One of them, as you might expect, is Danny Cannon’s 1995’s Judge Dredd, the Sylvester Stallone vehicle that looked the part, but misunderstood the fundamentals right down to the inclusion of Rob Schneider as comic relief. The second, though, is somewhat unexpected. In an ideal world, we’d be able to see and assess films in a bubble, but this isn’t an ideal world. Just as it was virtually impossible to watch Prometheus without unbidden thoughts of Alien, so it goes with Dredd and The Raid, Gareth Evans’ blistering Indonesian action flick which, in a perfect storm of horrible timing, has virtually the same plot, right down to the chief baddie putting out a hit on the hero via building-wide intercom. This wouldn’t be to Dredd’s detriment if The Raid hadn’t a) got there first and b) been the best action film in years. And so, as Dredd and Anderson tiptoe down dark corridors, where danger lurks around every corner, or bullet-bludgeon their way through Ma-Ma’s seemingly endless waves of expendable henchmen, it’s hard not to compare and contrast with Evans’ movie, where similar situations led to action that was vital, insanely violent and full of variety. Dredd retains the extraordinary violence (flesh pierces rippling bare flesh in loving slo-mo, a machine gun reduces a head to a pulp, and bodies spiral through 200 storeys before splatting), but the action is rather more circumspect and workmanlike – there are no dizzying camera moves, no sense of building momentum or mounting danger. That, overall, Dredd manages to obliterate the memory of Judge Dredd (and to a lesser extent, The Raid) is largely attributable to one of the things it gets absolutely, incontrovertibly right: Dredd himself. John Wagner’s creation is a tricky one to represent on the big screen: dour, one-note, humourless, dedicated to upholding the law above all other things, he’s Dirty Harry wearing fascism like his gold badge. The obvious temptation is to judge the Judge and soften him, to make him glib, to introduce back story and a sense that there’s a living, breathing, caring, sharing human being under there. Dredd’s director, Pete Travis, and screenwriter Alex Garland, the driving force behind the reboot, say “drokk that!”, and transplant Dredd straight from the comics onto the screen. This Dredd is a deadpan delight - he doesn’t grow as a person and he doesn’t crack wise. In fact, the movie generates its few laughs from his sheer intractability – a grunt here, a monosyllabic response there. It’s a role that has to be handled with care, and luckily Urban is excellent. Unlike Stallone, the helmet stays on (in a cute touch, we first see him from behind without the headgear) and, without recourse to his eyes, Urban is forced to give good lower head, leading with the manliest movie chin this side of Kirk Douglas, and growling his lines in an Eastwood-meets-Pazuzu rasp that just about manages to stay the right side of tough-guy parody. With Dredd unchanging, and Lena Headey’s quietly chilling villainess, Ma-Ma, proving equally monomaniacal, the emotional arc is given to Thirlby, whose engaging Anderson has to grow up quickly as the bullets start flying. The focus on a small core of characters (including, happily, The Wire’s Avon Barksdale, Wood Harris, as Headey’s right-hand dealer), and the decision to restrict the action to Peach Trees is a byproduct of Dredd’s relatively miniscule (for a comic-book adaptation) budget. Dredd doesn’t have the capital to do an enormous Dark Knight Rises-style denouement, with the big action set-piece, involving Ma-Ma firing a cannon even more dangerous to Dredd than Danny, coming halfway through. Impressively, though, it never looks bargain basement – the murky green/brown colour scheme, along with the brief opening in Mega-City One (Johannesburg with some CG enhancements), clearly show that this post-apocalyptic world is rundown, seedy, gone to pot. And that murk allows Travis to escape occasionally into the (literal) Slo-mo sequences. The drug, which makes users perceive time at one per cent of its normal speed, isn’t just an excuse for Peckinpah apeing, but for genuinely surreal splashes of heightened colour that, thankfully, don’t outstay their welcome. The film’s use of 3D is often excellent (including the credits) and it really comes to life in the Slo-mo scenes – Headey’s introduction, swirling rainbow-coloured droplets of bath water around in a drug-induced haze, will make this – ironically - a stoner favourite. Hey, we’re not judging. There’s certainly enough here, despite the clunky action and oppressively dour tone, to make the prospect of a sequel intriguing. With a bigger budget, Dredd could get to play in a bigger sandpit. There’s a whole Cursed Earth out there, just waiting to be explored. But, if it doesn’t come to that, this is an honourable attempt at giving an iconic character the adaptation he deserved. Just don’t double-bill it with The Raid. Verdict There was much to dread about this new iteration of Dredd, but it’s a solid, occasionally excellent take on the character, with Urban’s chin particularly impressive.

  • Sept. 4, 2012, 1:28 p.m. CST

    Positive Review from Hollywood Reporter

    by sauchieboy

    Futuristic lawman returns in superior sci-fi action thriller scripted by Alex Garland. A cult anti-hero born 35 years ago on the pages of the long-running British comic book 2000 AD, Judge Dredd began life as a kind of futuristic Dirty Harry, an ultraviolent fantasy of a US lawman policing a dystopian Blade Runner universe. His fascistic worldview, dispensing hard-edged instant justice on the mean streets of Mega City One, offered readers both a guilty pleasure and a darkly satirical commentary on Anglo-American society in the late 1970s, just as punk rock was fading and the Thatcher-Reagan era was dawning. our editor recommends Comic-Con 2012: 'Dredd' Fans Cheer Reboot's Body Count, Absence of Stallone's Gold Codpiece 'Dredd' Trailer: It's 'Judgment Time' (Video) 'Dredd' Poster Proclaims 'Judgment is Coming' (Photos) Lionsgate Nabs Rights to Judge Dredd Film, Plus Two Other Movies In Dredd 3D, this evergreen pop-culture icon gets rebooted for the 21st century by Alex Garland, author of The Beach and screenwriter of 28 Days Later, among many others. A previous attempt to bring Dredd to the screen, director Danny Cannon’s 1995 star vehicle for Sylvester Stallone, impressed neither serious fans nor mainstream movie-goers. But Garland and director Pete Travis deliver a sharper and better film, more faithful to the original comic, but careful not to be too culturally specific, and targeted squarely at the huge global market for sci-fi thrillers. While its R rating will inevitably limit commercial potential, this is a superior genre piece which ticks enough effects-heavy action-franchise boxes to generate healthy box office. Where Cannon’s film was geographically expansive, clumsily comic and heavily sanitised for family viewing, Dredd 3D takes exactly the opposite approach. The violence here is graphic and gory, taking full advantage of that R rating. The dark, ironic, very British humour of the original strip has been largely excised. And nine-tenths of the story takes place inside a single location, a vast housing project which has become a lawless high-rise ghetto controlled by the ruthlessly sadistic drugs pusher and crime boss Ma-Ma (Headey). When Dredd (Urban) and his rookie partner, the psychic Judge Anderson (Thirlby), arrive to investigate a triple homicide, they become prisoners of this violent mega-slum, fighting for survival against Ma-Ma’s heavily armed foot soldiers. The limited location, computer game-style plot and muted humour of Dredd 3D may disappoint hardcore fans of the comic book. While the vast post-apocalyptic sprawl of Mega City One almost functioned like a main character in the original strips, here we only see it in teasing glimpses, as a chaotic concrete jungle stretching off to the far horizon. Most of the film was shot in South Africa, which perhaps explains why this ostensibly US Eastern seaboard cityscape looks more like Johannesburg than Boston or Manhattan. Dredd purists will perhaps approve more of Karl Urban’s minimalist portrayal, barking terse commands from behind his ever-present mask, in-keeping with his comic-strip blueprint. But it still lacks something, a one-dimensional performance in a three-dimensional film. The Die Hard-level plot also contains a few risibly silly contrivances, notably the photogenic Anderson being sent into an urban war zone despite forgetting to wear her protective helmet. Doh! That said, Dredd 3D constantly impresses on a visual level, with a gritty style more akin to cult hits like District 9 or 28 Days Later than to standard Hollywood comic-book blockbusters. The esteemed British cinematographer Anthony Dod Mantle, best known for his Lars Von Trier collaborations and his Oscar-winning work on Danny Boyle’s Slumdog Millionaire, adds to the project’s overall air of high-level craftsmanship. His first venture into 3D is a blaze of saturated colours, gorgeous high-resolution close-ups and dazzling slow-motion sequences. Imagine the balletic slowed-down carnage of vintage Sam Peckinpah or John Woo, but taken to the next technological level. Pitched at the right level to please original fans, but still slick and accessible enough to attract new ones, Dredd 3D feels like a smart and muscular addition to the sci-fi action genre. Even 35 years later, Judge Dredd still packs a hard punch. Go ahead, punk. Make his day.

  • Sept. 4, 2012, 1:28 p.m. CST

    not citizen kane?

    by qwsdqwedq sdbcjhdwiuvdh

    citizen kane sux ass anyways aint sayin much

  • Your constant fanaticism against this Dredd movie, your bizarre rants and bitter hatred because they're not paying you attention anymore and even Dredd's creator has mentioned you're a twat publicly, really are only doing two things. You're not changing the film in any way, so it's all pointless. All you are doing is giving non-2000ad fans who come across your Internet excresence the idea that 2000ad must be for some very desperately sad people, and you're also leaving a footprint of yourself in digital form that merely shows you to be rarer mentally unstable, and beyond that, a bit of a twat to say the least. Does that not bother you at all, or are you fine just announcing to the world what an unpleasant little character you are?

  • Sept. 4, 2012, 1:35 p.m. CST

    Positive Review from Den of Geek

    by sauchieboy

    arl Urban takes on the role of Mega-City One's iconic justice dispenser. Here's our review of Dredd… For every one of the problems with Dredd – and there are a few we’ll eventually get to – there’s really quite a lot to admire. Not least that it feels like the project started with a firm understanding of how its central character should be depicted, something that remains completely intact in the final cut. Easily the hardest-edged comic book adaptation we’ve seen in a long, long time, this second attempt to bring Dredd to the big screen is a far more faithful beast than the oft-maligned 1995 movie. Right from the off, we're dragged into the future world of Mega City One. It's a horrible, dirty, sprawling rats’ nest of crime, full of endless concrete. It's also overseen by a series of Judges, who act as judge, jury and executioner as they attempt to bring order to the city. If you’re looking for a definition of ‘unwinnable war’, what the Judges face in Mega-City One is a good place to start. But that doesn’t stop them trying, and thus we meet Judge Dredd, played by Karl Urban – and unlike Sylvester Stallone’s take on the character, his helmet remains on his head for the entire movie. Urban’s Dredd channels Clint Eastwood (pre-empty chair incident), barking out words only when necessary, and never betraying the slightest hint of emotion. It's an excellent performance from someone who clearly understands the role. The focus of the film itself is effectively on one day in Judge Dredd's life, marrying up elements of Training Day and The Raid as it does so. The premise here is that Dredd has this single day to find out whether new rookie Anderson has got what it takes to be a judge. Unfortunately, it's also the day they end up in a 200-story building under the rule of drug baron Ma-Ma. She's peddling a narcotic by the name of Slo-Mo, and Dredd and Anderson soon find themselves imprisoned in the block, fighting to bring the criminals within it to justice. It’s a simple setup, and quite a wise one. After all, this Dredd doesn’t have the budget of its contemporaries, and the money thus has to be spent very wisely. There’s some solid effects work to establish the perspective and tone of the city, but more interestingly, they filmmakers have spent the cash on details. Graphic displays, make-up, signs, little things in the background that give more realism and texture to a world than a computer graphic can generally give you. The flip side to all of this, though, is there’s not actually a lot of story. Furthermore, even though Olivia Thirlby’s excellent Anderson (again, captured faithfully from the comics) – effectively in the Doctor Who companion role, narratively – carries the emotional burden of the film (not least in a sequence where she meets one of the block’s residents), there’s no real opportunity to get under the skin of the main characters. It boils down, then, to a simple case of law enforcers versus criminals, and not a lot more than that. But it does commit to what it's trying to do, and the world it's trying to represent. Alex Garland’s sparse dialogue is harsh, and true to both Dredd and the original 2000AD strips. Furthermore, there’s no attempt whatsoever to soften the film. This is a brutal piece of work, and director Pete Travis doesn’t shy away from that at all. Blood splatters, people die in horrible circumstances, and the effects of Slo-Mo are ever present (although this does mean we get a few over-extended slow-motion scenes which outstay their welcomea little). Credit, too, to Lena Headey, who’s already shown that she can be a complicated antagonist in Game Of Thrones. There isn’t the same depth to her character in Dredd, but as Ma-Ma, she’s a convincing villain, and there’s little doubting her commitment to the role. You're never in any doubt at all that her character is a nasty, ruthless individual, living in a nasty, ruthless world. Dredd is rough, loud and brash, then, a film that doesn’t get everything right, and has seen some of its thunder stolen by The Raid earlier this year. But it’s a movie you can’t help but commend. Consider this: when Spider-Man 3 disappointed, Sony took the safe option with its following film of the webslinger, cutting all the edges off and making as conventional a movie as possible in The Amazing Spider-Man. The first Judge Dredd film, appreciating it was much further back, also disappointed, but the team behind Dredd have gone in the other direction. While others are looking to make comic book movies that appeal to the largest audience possible, those behind Dredd went right back to the darkness of the source material, and instead brought that to the screen. As a result, in the UK the film has an 18 certificate, and there's no doubt whatsoever that it deserves it. Dredd might not always make for the most even and enjoyable of films (and its box office returns will inevitably be dwarfed by the Batmans and Spider-Mans of the world). Yet when it sparks into life, when you see just how much care and passion is behind it, and when it all hangs together, it becomes clear that it’s not just a film that deserves to be seen, it’s one that deserves to be supported and applauded, too. Dredd is the kind of comic-book movie that they weren’t supposed to be making anymore. Luckily for us, someone decided to ignore that.

  • Sept. 4, 2012, 1:37 p.m. CST

    Postive Review from What Culture

    by sauchieboy

    Film reboots are a tricky business at the best of times; they generally reflect a property that has been run irredeemably into the ground prior (Batman Begins), or indicate crass commercial calculations and complicated rights-related issues (The Amazing Spider-Man). However, the filmmakers behind Dredd, the latest take on John Wagner’s hugely popular 2000 AD comic, are tasked with a rare opportunity – to take a mulligan on an adaptation that actually wasn’t any good the first time around, when Danny Cannon so execrably brought Judge Dredd to the screen with 1995′s Sylvester Stallone-starring calamity. Cannon’s ill-thought out effort amped up the camp and drained the grit out of the edgy British comic book, removing Dredd’s helmet for 80% of the film much to the ire of fans, and branching off on a borderline nonsensical plot about clones and the inter-structural politics of the Grand Hall of Justice. Thankfully, this grimmer, grittier take follows a back-to-basics approach, hewing close to the humourously violent cynicism of the source material, while grinding characters and set-pieces around the axis of a minimalist plot that emphasises the visceral thrill over intellectual nuance. Taking place in a nightmarish future where the world is an irradiated wasteland, the citizens of Mega City One – a desolate expanse situated on America’s East Coast - are forced to inhabit gigantic high-rise buildings, while the authorities are unable to cope with the tide of violent crime hitting the streets. The prevailing law rests in the hands of Judges, imbued with the power of not only judge, but jury and finally, executioner. The most feared of them is Judge Dredd (Karl Urban), who is forced to take a telepathic rookie, Judge Anderson (Olivia Thirlby) under his wing on the very day they are assigned to assault a 200-story high-rise in search of drug lord Ma-Ma (Lena Headey). Upon discovering their presence, she locks the building down, ordering the block’s countless criminals to make short work of them. Dredd is a solid example of style-over-substance done right; the most striking aspect is unquestionably its visual accomplishment, for this is a splendid looking film, directed by Pete Travis with a grimy, Grindhouse-esque aesthetic. Ably conveying the effects of the film’s fictional drug Slow-Mo with hyper-saturated slow-motion, Travis creates a sumptuously dreamlike reflection of the city’s rampant drug use, smartly juxtaposed with the dimly-lit, drab hallways of the apartment block itself; simply, it’s not hard to understand why so many have turned to this mind-altering substance. Plot absolutely takes a backseat to the hyper-stylised action here, and though many will take umbrage with its trapped-inside-a-tower-block premise being apparently lifted from The Raid, the film was actually in production several months prior to the electrifying Indonesian actioner. What the film lacks in depth and character development it somewhat compensates for with a dizzying, unrelenting barrage of hardcore, beautifully realised violence, that will appeal to the comic’s fans and particularly to those who felt burned by the anodyne Stallone version. While on the surface this violence merely satisfies a primal urge, it actually has a point; the summary executions are indicative of a state in disrepair, where blood only begets more blood, and the Judge’s abruptly ultimate slayings suggest a civilisation so far gone that they don’t know which way is up. Though the film might be said to glorify these actions through slow-motion shots of bullets tearing through bodies, we are never asked to fully approve of Dredd’s cold approach; our POV is always with Thirlby’s Cassandra, the tale’s heart and soul, bringing an unexpected warmth and humanity to a story that could so easily be without either. Of course, all this would be for little were the names behind the helmets poorly cast. However, Karl Urban – who, yes, spends 100% of the film behind the helmet – is a fine upgrade from Stallone, delivering a more restrained, disciplined and agreeably stoic performance that is darkly comic, and appropriately one-dimensional. The real star of the show, however, is Thirlby, a peculiar casting choice but one that has proven wise; her youthful naivete is immaculately-played, and the conviction of her performance helps us buy into what is easily the most absurd aspect of the story – that she has the power to read minds. In a supporting role, Lena Headey also lives up to the physical demands of her villainous drug-peddler, even if Ma-Ma does feel underdeveloped – as is a common complaint with this film. It’s fast-paced, efficient, seat-of-your-pants filmmaking; more than a little messy, but gorgeous to look at, and something the action and comic crowds will find it easy to get behind. It’s crafted with a clear love for the source material, even if it skimps on any dramatic or thematic nuance whatsoever. Still, this is a resurrecting jolt of life to a property that will hopefully find firmer ground with a sequel should it ignite the box office. Dredd is a rare reboot both necessary and successful, doing what Stallone’s stolid effort couldn’t with double the budget – excite, entertain, and stay crucially true to John Wagner’s unwaveringly dark vision. Just don’t expect much from the 3D. Dredd is in cinemas Friday.

  • Sept. 4, 2012, 1:39 p.m. CST

    Positive Review from Bloody Disgusting

    by sauchieboy

    The idea of a new “Judge Dredd” adaptation is so tainted for me by the 1995 Sylvester Stallone version that I treated Lionsgate’s Dredd as a bastard project from day one. “There’s no way this will be good,” I convinced myself. After a rash of positive reviews out of the San Diego Comic-Con this past July, and Lionsgate’s release of the ultra-violent clip, they had my full attention. Dredd, directed by Pete Travis, and written by 28 Days Later‘s Alex Garland, is shockingly similar to the 2011 The Raid. In the latest adaptation of the comic book, Judge Dredd (Karl Urban), Accompanied by a mutant rookie (Olivia Thirlby), respond to a call where the local drug lord, Mama (Lena Headey), has set up her operations. She resides on the top floor and, in an attempt to keep this secret, locks the two Judges in the complex. The two must work their way the building to not only survive, but to kill the drug lord and stop the mass production of the new drug, SLO-MO. By the end of the first act I was on the edge if my seat rocked by the insane action, violence and filmmaking style. My internal dialogue screamed, “why remake RoboCop? This IS RoboCop!” Dredd taps into late 80′s/early 90′s action films such as RoboCop, while also tapping into such films as Terminator, Predator, Predator 2 and even The Crow. Those of my generation will be drooling in glee BEFORE the two Judges even enter the complex. Once in the complex, we’re introduced to Mama in a stunning cinematic vision that shows us what it’s like to be on SLO-MO. The cinematography and slow motion filmmaking was mesmerizing, yet ironically representational of the rest of the film. While the idea of having a strong (and incredibly violent) female villain was of absolute brilliance, it wasn’t enough to elevate what becomes an hour of exposition and shootouts. Travis makes a noble attempt to mix up the gunfire with a variety of weaponry, but, ultimately, it becomes a tad monotonous. This is where The Raid succeeds, as that film works its way from gunfire straight down to barebones fistfights – that is what keep it interesting and varied enough so that the audience doesn’t become desensitized. Dredd, through two of the most climactic moments, fails to deliver that final blow (ironically, one in the vein of RoboCop, which in my opinion is the best ending of all time). As I’ve said many times before, if you’re going to emulate something, at least try and top it… With that said, Dredd is a cinematic experience you don’t want to miss out on. The sound mix is something to behold – having made my heart slip multiple beats – and the 3-D is nothing short of stunning (especially during the drug induced SLO-MO sequences). The icing on the cake is the blissful, off-the-wall violence that only Lionsgate has the balls to deliver (think Punisher). Dredd is a supercharged comic adaptation that’s faithful to the source material and made specifically for the fans. There’s nothing to indicate an attempt to appeal to mass audiences, which means Dredd was made for YOU, which is a rare treat in the cinematic haze of remakes, franchise films and generic thrillers. Even with a lackluster finale, soak this magnificent work of art in and enjoy the hour and a half gift from the movie gods. Official Score: 4 / 5

  • Sept. 4, 2012, 1:41 p.m. CST

    Positive Review from Total Film

    by sauchieboy

    By Jonathan Crocker Roughly five minutes in, an incendiary bullet from Judge Dredd’s hand-cannon cooks a thug’s brain inside his own skull. He drops, glowing like a human halloween pumpkin. Dredd grimaces. Call it a statement of intent. The helmet stays on and the gloves are off in screenwriter Alex Garland’s grim, ultraviolent reboot, which aims to burn all memories of Sylvester Stallone and Rob Schneider from our minds. Faithfully refusing to give 2000AD’s super-cop (Karl Urban) a noble human face, sardonic quips or a cuddly-wuddly backstory, Garland wastes no time trapping Dredd and psychic rookie Cassandra (Olivia Thirlby) in a 200-storey skyrise tower block controlled by drug baroness Ma-Ma (Lena Headey). Back to the future? We’ve been here before. Trouble is, Urban and Thirlby grimly battling waves of henchmen in a concrete rat-trap of corridor-to-corridor combat never comes close to matching The Raid’s sensational floor-to-ceiling carnage. What’s worse, Dredd’s story might be even skimpier than Gareth Evans’ indonesian ripsnorter. But if it’s cheese, it’s hard cheese. Stomping forward like an old-school Verhoeven movie, Dredd keeps you hooked with blunt charisma and some deadpan mega-violence. Bullets split faces, brains spill like dropped porridge and, at one point, Urban flattens a man’s windpipe with his fist. Oof. Gore even splashes outside the frame, just one of the lovely surrealist touches from ace cinematographer Anthony Dod Mantle, who gives his first 3D film a grungy style-rinse that goes some way to disguising its lo-fi budget. Thanks to a sci-fi narcotic that makes users’ brains feel as if time is moving at one per cent its normal speed – cute, that, from Garland – Dredd gets to lean hard on the slo-mo button, letting blood, water droplets and broken glass shiver beautifully in stereoscopic space. More colour comes from Headey’s B-movie bitch, Wood Harris (The Wire’s Avon Barksdale) as her right-hand thug and Thirlby’s likeable counterweight to Dredd’s stoicism as the sweetie with a hard centre. It’s a tough gig for Urban, whose chin gives the performance of its lifetime. Having co-starred impressively in several franchises (LOTR, Riddick, Bourne, Star Trek), he may not quite be good enough – or bad enough? – to give this unknowable law enforcer a truly memorable wreckingball personality. But if his head looks a little lost inside that helmet, that growly grimace remains rock-steady. Verdict: Grungy, compact and delightfully violent, Dredd wants to hit you as hard as it can. The sequel may be the movie you really want, but for now, justice has been done.

  • Sept. 4, 2012, 1:43 p.m. CST

    The Raid: Dreddemption

    by tintab

    Seriously, Urban is a good actor and I have some hope for this but, the being better than the Stallone film is easy. That said, having 100% less Rob Schneider is a plus.

  • Sept. 4, 2012, 1:43 p.m. CST

    Positive Review from Cinema Blend

    by sauchieboy

    Lionsgate and the Masters of the Web panel co-sponsored the world premiere of Dredd 3D to a packed house at San Diego Comic Con Wednesday night. Dedicated fans lined up around the block for a chance to get into the screening, and the chance to hear stars Karl Urban and Olivia Thirlby intro the film. The two play judges in a burned-out, post-apocalyptic metropolis, and as Urban cautioned before the screening, rambunctious crowd grabbing Dredd tickets better like their movies to be “dark and gritty.” Needless to say, that got a pretty loud round of applause from the SDCC crowd. And Dredd 3D delivers on the promise. Director Pete Travis takes a crack at John Wagner’s strong, silent graphic novel character, a police officer tasked with acting as judge, jury and – when necessary – executioner on the streets of his corrupt city. After taking down a trio of drug addicts hooked on SLO-MO, Dredd (Urban) is paired with Cassandra Anderson, a rookie on the judge program who’s also a gifted clairvoyant. Criminals (and colleagues) dismiss Anderson as a “mutant,” though her powers come in handy on more than one occasion after she and Dredd are called to a complicated assignment at Peach Trees, a high-rise tower populated with shady and well-armed thugs working for Mama (Lena Headey, who’s fantastic). The rest I’ll leave up to you to discover. Dredd 3D is going to draw comparisons to Gareth Evans’ The Raid, which is unfair. Obviously, both films (shot at the same time) feature overmatched protagonists mowing down armies of relentless enemies to reach a criminal kingpin at the top of a fortress. But Dredd opts for blunt violence in places where The Raid leaned toward graceful – yet still bone-snapping – fight choreography. The introduction of the unique drug SLO-MO means Travis can – and does – show us bullets gliding through body parts and limbs being blown to smithereens. Dredd holds its own with other grindhouse action thrillers: Short on story, but amped up with gore. I think Urban’s Dredd, and Travis’ forceful direction, wash away the memories of Sylvester Stallone’s 1995 take on the character in a stream of blood and bullets. And for fans of the graphic novels – or of pulp action, in general – that’s probably enough to get you to check out the new film. Oh, and Urban leaves the mask on the whole time (which I hear is pretty important). Dredd 3D will be in theaters on Sept. 21.

  • Sept. 4, 2012, 1:44 p.m. CST

    Positive Review from

    by sauchieboy

    A reimagining of the 2000 AD label comic book that inspired Judge Dredd, the 1994 Sylvester Stallone action flick that took sci-fi wackiness to new heights, Dredd scales back on the futuristic elements and puts an emphasis on the brutality in store for the Judge's criminal victims. In this not-so-distant world, a Judge has the power to decide your fate right upon capture — and usually, the sentence involves some type of ammunition being fired into the offender's skull. Dredd is a grimy, smoldering, relentless 90 minutes that manages to inject its in-your-face fight scenes with an unexpected bit of humanity. Shocking, considering the buckets of blood spilled during Judge Dredd's warpath, which begins from his very first appearance. This time around, Dredd is played by Karl Urban, a chiseled beast of a dude who balances the machismo with a healthy dose of one-liner comedy. A great central hero. To investigate a series of murders connected to one of Mega City 1's most notorious crime figureheads, Dredd is partnered with an exact opposite: Cassandra (Olivia Thirlby), a new recruit who makes up for her lack of killer instinct with a mutant psychic power. She may not have the throat-ripping capabilities of Dredd, but once this girl gets in a baddie's head, it's over. Dredd is wary of his new sidekick potential — even more so when the challenge they face reveals itself. Cooped up at the top of a 120+ story building is Ma-Ma (Lena Hedley), whose operation will soon put a new drug — dubbed "Slo-Mo" — in the hands of every Mega City 1 citizen. To stop her, Dredd and Cassandra must slay her goons as they ascend the skyscraper. Simple premise, lots of bloodshed. Unlike this year's The Raid, which took a similar approach to the non-stop antics of a martial arts film, Dredd opts for the slow burn approach. Director Pete Travis (Vantage Point) wants us to take a big whiff of every musky apartment in Ma-Ma's "Peach Trees" tower; he wants us to feel every drip of sweat that trickles down Dredd's stubble, while the law enforcer waits patiently to attack; he wants us to feel the complete stop of time when the Slo-Mo drug kicks in and even droplets of suddy bath water hang in the air from a splash; and he wants us to feel like we're in the front seat of a Gallagher show when Dredd fires an explosive bullet into the mouth of a henchman and watches the head explode into bits (all in clear and crisp 3D). Dredd is near-fetishistic in its approach to gore – I found myself mouth agape making audible "EEEEEEEEAAAAH" sounds throughout the film — but plays well to the lead character's ferocious nature. The hyper-style doesn't end with Dredd's unique array of finishing moves either; Cassandra's telepathy is a weapon of the senses that Travis mines for every flashy montage sequence he can squeeze out of it. In one sequence, Cassandra uncovers an important clue by subjecting one of Ma-Ma's assailants to mental torture, a terrifying whirlwind of imagery of saturated nightmares (if you've ever watched Saw after scarfing down an undercooked burrito, you know what I mean). Travis amps "MTV editing" in these sequences, an assault to the senses that's just as purposefully grating as the gritty fight sequences. What makes the whole thing worth watching are the film's two leads. Urban has the thankless task of playing Dredd under the Judge's signature mask — someone obviously forgot to tell the police force of the future that the eyes are the windows to the soul. Urban makes up for it with a spectrum of snarls and a voice that sends chills down the spine. dredd actionHe also knows his way around comedy timing (as evidenced by his equally-impressive performance as Bones in J.J. Abrams' Star Trek), delivering kitschy zingers that click with Dredd's rough and tough world. The yin to his yang, Cassandra could have been another helpless female costar who steps in with magical powers when the time is right, but Thirlby is the real heart and soul of Dredd, breathing compassion into a dimly lit situation and reflecting the grey morality of the entire Judge program. Why are people cool with cops coming in and blowing them away when they see fit? Why is that the new definition of heroism? The script by Alex Garland (28 Days Later, Never Let Me Go) is smart to ask those questions, and Cassandra is the perfect proxy. Thirlby, as adorable as she is, plays the gal fierce, a sensible kind of Judge that can live side by side with Dredd. There are a lot of people who won't be able to stomach Dredd, partly for the level of violence, partly for the consistency and pace of how that violence is unleashed. The small scale and singular location of the action don't allow Dredd to keep the surprises coming. After awhile, watching human heads splatter like water balloons becomes taxing and unenjoyable (which some psychologists may say should have been the case in the first place). Hedley does a decent job of making her psychotic Ma-Ma into a wicked villain who deserves her due, but without a fleshed out cause and bigger picture implications, it's hard to care. Her squad of faceless men are more like punching bags then characters. But over-the-top mayhem has its place, and when accompanied by a badass like Dredd and a pumping electronica score, it's hard not to cheer when the Judge lays down the gruesome law. Dredd isn't a great film, but it's a great Comic-Con film — one worth catching at midnight and screaming your lungs out all in good, absurd fun.

  • Sept. 4, 2012, 1:46 p.m. CST

    Next one should be a Cursed Earth film.

    by Smerdyakov

    Then Judge Death.

  • Sept. 4, 2012, 1:49 p.m. CST

    (mostly) Positive Review from Screen Crush

    by sauchieboy

    Karl Urban (at least I think it’s Karl Urban — he never takes off his helmet) hits his one note well, hard and often. As Judge Dredd, he’s a stern one-man justice machine in a dystopian megapolis, part of a woefully understaffed police force that zips among enormous city-state, 200 story apartment blocks, threatening a term in an “iso-cube,” but mostly bullet-blasting perps in ever resourceful ways. Just when you thought you’d seen every way for brains to splatter across the screen in 3D, ‘Dredd‘ comes up with something new. This new adaptation (screened at Comic-Con 2012 in San Diego) of the British comic character is one part sly Verhoeven-esque satire, one part visual whirlwind and one part decent-enough, but basic, action picture. After an opening chase that lays out the Judges’ rules of engagement (see someone committing a crime: kill them) we meet Olivia Thirlby’s Anderson. She failed the Judge aptitude test, but due to a childhood bordering the radiation containment zone, she’s a “mutie” and has powers of extra sensory perception. She’s given one day to prove herself as Urban’s ride-along. As it happens, this is the day they’ll stumble into the roughest block in the city — the Peach Trees. The Peach Trees is ruled by Lena Headey’s Ma-Ma – a ruthless gang-leader with a monopoly on Slo-Mo, the hottest new drug in this miserable future. Slo-Mo is no doubt harmful to one’s health, but it does wonders for ‘Dredd’s’ cinematographer Anthony Dod Mantle. The narcotic (whose delivery method is the same as an asthma inhaler, in a possible design nod to the film’s comic book roots) causes the brain to perceive time at 1% normal speed. This makes for a number of shootout scenes that are reeeeeeeeeaaaaaaalllllly cool. The shootouts come once Ma-Ma puts a lockdown on the Peach Trees and orders all of its 75,000 inhabitants to either kill the two lawmen or stay the hell out of the way. Urban must therefore make his way to the top level and take out the boss if he’s ever to escape. His gruff, deadpan delivery mixed with a lack of hesitancy to put a bullet in your face ought to keep most people from accusing him of basically taking the same plot from ‘The Raid.’ While Urban is essentially a block of concrete with a round, shiny head, ‘Dredd’ makes decent use out of its side characters. Wood ‘Avon Barksdale’ Harris plays a detained prisoner who tries to play mindgames with the rookie Thirlby. (She, of course, being a telepath, is a hard one to fluster.) The best performance in the film, however, is Headey’s Ma-Ma. Looking like a cross between Joan Jett and Sandra Bernhard, she isn’t, alas, given much time center stage. Her few moments, though, are devilishly milked, making her one of the best screen villains of the year. I’ve got to give ‘Dredd’ some credit for its fundamental delight in being fascist. It makes ‘Dirty Harry’ look like ’12 Angry Men.’ Unlike ‘Starship Troopers,’ the satirical winks, while existent, are few and far between. ‘Dredd’ takes it on faith that you’ll know that this is, you know, a bad way for a criminal justice system to behave, then lets you see what a body smashing into concrete from 200 stories above looks like in extreme slow motion. There’s a moment, just a moment, where you think the movie is gonna’ wimp out, but this thread is quickly dropped. From a badass POV, that’s cool — from a “what the hell’s wrong with our culture?” angle, I’m not so sure. So ‘Dredd’ borders on being a blast. I didn’t come out of the 3D screening at Comic-Con 2012 bursting with enthusiasm, but I did giggle most of the time. It’s a ballsy picture and I was impressed with its economic world-building. (These apartment blocks have everything in them — except showers, apparently. Everyone’s so sweaty in the horrible future!) While there are slips into substandard predictability, the film is quick to snap back to another whacked-out ESP session or hyperstylized slo-mo shoot ‘em up. All told, it’s not dreadful.

  • Sept. 4, 2012, 1:50 p.m. CST

    Positive (but sniffy) Review from The Playlist

    by sauchieboy

    Remakes and reboots always seem to demand comparisons to their predecessors, but “Dredd” evokes a slightly different relationship: What Zack Snyder’s “Dawn of the Dead” is to George Romero’s original, Pete Travis’ film is to, no, not Danny Cannon’s 1995 film “Judge Dredd,” but Paul Verhoeven’s “Robocop.” In both cases, gifted visual stylists took fertile, socially-conscious subject matter, pared out the cultural commentary, and left behind an engaging, if empty, cinematic experience. And for the most part, that works, although the abrupt ending of Travis’ film only highlights its thematic vacuousness, while Snyder’s bleak post-credits punchline successfully disguised it (at least at the time). Nevertheless, by far the better of the two cinematic interpretations of this particular character, “Dredd” is a video game procedural tied to great visuals, but one without deeper substance to make its experience remotely meaningful. Karl Urban plays Judge Dredd, the most fearsome scowl in all of Mega-City One. After dispassionately “judging” (that means kill) a trio of drugged-out criminals, Dredd is handed a babysitting job by his superior: evaluate a comely recruit named Cassandra Anderson (Olivia Thirlby) whose tests are below par but whose psychic abilities make her too valuable to dismiss. On their first call, Dredd and Anderson respond to a triple homicide at Peach Trees, a housing project which has been overtaken by Ma-Ma (Lena Headey) as a production facility for a new drug called Slo-Mo. But after they apprehend one of her foot soldiers, Kay (Wood Harris), for questioning, Ma-Ma shuts down the building and unleashes its denizens on the two Judges, putting them in a deadly struggle to escape with their suspect – and their lives – intact. Fans of the character will be relieved to know that Dredd doesn’t face the sort of deconstructionist, deep-rooted moral struggle he was confronted with in Cannon’s film; from start to finish, the Judge retains his mostly implacable, gruff authority. Instead, screenwriter Alex Garland (“28 Days Later,” “Sunshine”) gives him a soupcon of humanity – not to mention humor – and then tests it incrementally both via his relationship with Anderson and his totalitarian attitudes about delivering justice. What works best about the duo’s dynamic is that Anderson isn’t a feeble-minded rookie, but a formidable companion whose skill set is simply different than Dredd’s. And when she introduces a few shades of grey into his black and white attitudes about crime and punishment, the transformation is rewardingly subtle. At the same time, his transformation is never reflected in the larger ideas the film attempts to examine – mostly because it doesn’t seem like there are larger ideas. Anderson’s passing mention of her upbringing in a housing project like Peach Trees notwithstanding, the movie never pauses to contextualize their judgments, nor to contemplate the value – or danger -- of a totalitarian regime. When innocents are killed, they only matter as a justification for their killers’ eventual, bloody death at the hands of the Judges. All of which is, if not fine, then at least intentional for the vast majority of the film’s running time; “Dredd” dares its target audience not to embrace the carnage, and alternates just enough between “that’s horrible” and “that’s horribly awesome” to keep viewers from seriously contemplating the glib amorality with which it depicts the (in)significance of human life. Perhaps understandably, it sounds like I really didn’t like the film, but “Dredd” mostly works on its own terms – even if they were probably written in crayon. Travis’ direction, augmented by cinematographer Anthony Dod Mantle (“127 Hours”), is remarkable and unique, lending the action a grisly but poetic feel; whether the Slo-Mo drug was the chicken or egg in the duo’s development of their visual style, it creates a sort of foundation for the speed and texture of the rest of the film, and looks absolutely stunning every time it’s used. Simultaneously, Travis and Mantle are liberal but judicious about the violence, never turning away from an opportunity to show Dredd or Anderson blow a hole in a perp, but also not quite doing it in a way that crosses a line from bleakly funny to just plain bleak. As Dredd, Urban either has a better character to play than Stallone did, or simply has a better grasp on what makes him tick, but the actor continues to distinguish himself as a versatile performer who turns mimicry into emotional meaning. Following his turn as Bones in J.J. Abrams’ “Star Trek,” he demonstrates that he understands how and where the differences are between the silhouette of an iconic character and the actual substance. Meanwhile, Thirlby seems as if she’d be outclassed or simply under-weighted to play even a rookie cop, but the actress demonstrates she’s no shrinking violet, and more than holds her own next to Urban’s comparatively imposing frame. Her external resolve and her internal struggle feel well-calibrated, making Anderson feel like a natural part of the world of Mega-City One, even when she’s meant to serve as proxy for the audience’s doubts or questions about it. Nevertheless, Romero’s “Dawn of the Dead” and Verhoeven’s “Robocop” indulged in plenty of gratuitous violence and pure, sophomoric fun, and yet both films possessed a political and social consciousness that elevated their prurient charms. Within genre conventions, “Dredd” satsfies as a containment thriller, buddy cop movie and futuristic action gorefest; the performances are strong, the characters thoughtfully developed and the visuals beautifully executed. But if just asking the question “What was that film actually about?” is all that’s necessary to undermine the surface-level enjoyment of watching Urban and Thirlby fight their way out of a well-designed structure, why does it matter – not to mention, why should we care -- if they ever succeed? [B-]

  • Sept. 4, 2012, 1:52 p.m. CST

    Positive Review from Craveonline

    by sauchieboy

    Oh, Dredd made me so happy. All I knew about Judge Dredd was the Stallone movie and I loved the concept even back then. I thought it was a great franchise for Stallone, a future where every cop was judge, jury and executioner. So I don’t know if the comic books were any better, but they sure did an amazing remake of a bad ‘90s sci-fi movie. Judge Dredd (Karl Urban) has to grudgingly take the rookie Anderson (Olivia Thirlby) on patrol to decide if she has what it takes to be a judge. Hey, it’s as good as any police formula. Why wouldn’t future cops be saddled with rookie partners just like they’ve been for decades? At least it’s a cop movie trope. The Stallone movie came up with some conspiracy to frame Judge Dredd or whatever was a watered down version of every other dystopian sci-fi. When responding to a call inside the Peach Trees skyscraper, the evil drug dealer Ma-Ma (Lena Heady) shuts the judges in and calls all the tower city’s goons on them. I know a lot of people are comparing the plot to The Raid: Redemption. Remember when they would have compared this plot to Die Hard? Even though it’s a gritty slum, it’s got enough high-tech sci-fi touches to make you feel like a vast epic world in which to set the film’s action. The violence in Dredd is very Verhoeven-y. It’s mostly graphically bloody gunfights but there are some gratuitous pedestrians caught in the crossfire. There’s also finally a shot of what bodies must really look like when they splatter on the ground after a high fall. It’s rightfully peppered with dark humor too, like cleaning up said bodies is a practical and gruesome task. All sci-fi used to be like this. I mean, all of them were, they weren’t the exception. Now I’m just so happy to see one movie take this approach. This is the best Robocop movie we’re going to get these days. I know Dredd is not a robot but he wears a helmet and armor and he’s logical. I really respect Urban’s decision to keep the helmet on the entire movie. There’s no vanity to it. You never see his whole face but he is an expert at body language and makes some interesting shapes with his mouth. Thirlby gets to stay pretty. Since Anderson is a psychic, a helmet would interfere with her powers. All the other judges stay helmeted though, and I love seeing dudes in helmets just going about their business like it’s normal. Just a few other sets of judges gives you a sense of the whole world of judges, these minor characters who may be called in as backup here but probably have their own full on adventures themselves. Urban is a modern day Clint Eastwood here. Who else do we have that’s all about the task? All our heroes now are trying so hard to be characters, sometimes becoming even bigger cliches that way. Dredd just wants to get the job done, and he cares about the difference between sentencing, execution and interrogation. He’s not necessarily joking but his blunt comments are funny (Anderson’s psychic conversations provide some dry humor too). Dredd does say “I am the law” though. Yay for that. Ma-Ma is a great villain. First of all, scarred up Lena Heady looks awesome. She’s also just really bad. There’s no sympathy play for her motivations. They mention the pimp who scarred her but only to emphasize how she got revenge and took over the business. She is just mean, so Dredd has to stop her. One thing I love about this Dredd is that they actually do police work. Dredd and Anderson analyze a crime scene and interview suspects. They even deal with smaller felonies like vagrancy, so you get a sense that this is a job, not just an excuse to be a lone badass action hero. There are some nice moments along the way to humanize the violent closed-in world. There are some strong moments between the judges and some of the building’s residents that show other people have individual agendas. It’s not just Ma-Ma vs. Judges. The 3-D looks okay. There are some vast empty spaces that go deep into the screen, and a few fingers pointed out of the screen and some splatters. Maybe some of the slow motion shattered glass wouldn’t look as pretty in 2-D, but I don’t know if it justifies the whole movie being in 3-D. Dredd hits that perfect sweet spot of filmmakers isolating an audience and totally serving that audience. I hope sci-fi fans will appreciate this as a throwback, an homage or just damn awesome.

  • Sept. 4, 2012, 1:54 p.m. CST

    Positive Review from Joblo

    by sauchieboy

    Karl Urban is DREDD and he kicks some serious ass. In this re-imagining of the iconic character “Judge Dredd” the actor is an absolute perfect fit. Only once do we see him without the mask, yet it is only his shadow that is visible. After that the helmet stays on as he makes some trouble for those who dare try and go after him. The best news is that fans of the comic, as well as fans of extreme R-rated action flicks have something to get excited about. The mayhem on-screen will please even the most hardcore fans of gruesome and bloody action. Director Pete Travis gives this post-apocalyptic superhero movie an edge that is rarely seen in your local multiplex. In the near and grim future, police officers have been replaced by men who can simply enact justice on the guilty. The movie introduces us to DREDD (Urban), a committed judge, jury and executioner. He is assigned to work with a young trainee named Cassandra Anderson (Olivia Thirlby), a "mutant" with unparalleled psychic abilities. Those in charge hope her powers can help in their fight against crime. While they are on a routine investigation, they discover a dangerous criminal who calls herself Ma-Ma (Lena Headey). This bitch of a crime boss – a nearly unrecognizable Headey - is creating a deadly drug called “SLO-MO” which slows down the user’s perception of time. The basic plot has the two Judge’s trying to escape with a witness to Ma-Ma’s crimes before she can have them killed. Much like THE RAID, the two must fend off a number of bad guys in order to survive in a building under lock-down. Yet the similarities end there. Much of what you see in DREDD may be familiar as post-apocalypse is rarely viewed as a happy time, yet director Pete Travis adds his own visual flair that makes this stand out. The 3D is put to good use especially within the context of the SLO-MO drug. It is most creative when it shows the effect on those taking it. In one scene, Judge Dredd shoots up a room full of people who have been using and the bullets rip through them at a disturbingly slow pace. This is groovy and gory stuff, and when you add the 3D element to that you have some pretty f*cked up scenes. This is an impressively good-looking feature that only occasionally suffers from not so perfect CGI effects. While DREDD is extremely – and creatively – violent, it has moments of fun that cannot be ignored. There is humor here that keeps you smiling as heads are being smashed or blown up. It also helps that both Urban and Thirlby share an impressive chemistry together. And then of course there is Lena Headey. As Ma-Ma, Headey creates such a vicious and despicable monster yet she rarely raises her voice. Her cut up face reveals an all too human beast that is willing to destroy anybody that she feels is a threat. Sure it is not surprising that Ms. Headey is a terrific actress, but she is so damn good here that you nearly forget that it was her and not some psychotic drug dealer looking to break DREDD into bits. As good as DREDD may be, somewhere in the middle of the film it tends to lag a bit. You’d think with all these guys going after them – thanks to Ma-Ma threatening everyone in the building – that they’d have a little tougher time than they do. Yet this is a minor complaint. From the smart casting to the hypnotic score by Paul Leonard-Morgan, to the copious amounts of crushed heads, this is a superhero flick that has balls and then some. DREDD is a perfect answer to the more mainstream and safe action films that are usually playing at a theatre near you. 8/10

  • Sept. 4, 2012, 1:57 p.m. CST

    The "District 9" comparison for the look is because

    by zonkk_za

    Both "District 9" and "Dredd" were filmed in South Africa, the former shot in Johannesburg and the latter shot in Cape Town (same as "Safe House" and parts of the remake of "The Prisoner") If you have a tight budget and want top class crew and incredible locations, you can't beat South Africa's value for money for making your film.

  • Sept. 4, 2012, 2:28 p.m. CST

    Ultron - Danny Cannon & TV

    by SminkyPinky

    It's called making a good living in the film & TV industry, you sad little man.

  • That review stinks so much of vegetation that it can only be vegetation. Now I could be wrong and the movie is great, but the review paints it to be the perfect movie if you take into account the different points being described. So Yes I will call PLANT, if it sounds like one!

  • Sept. 4, 2012, 3:09 p.m. CST

    Saw it yesterday morning...

    by shaneo632

    My review is one of the ones on Rotten Tomatoes (What Culture). I went in very skeptical and came out enjoying myself. Plot isn't up to much but it's got great style, action and performances.

  • Sept. 4, 2012, 3:22 p.m. CST

    Look, seriously, start raising your fucking writing standards

    by ClaireRedfield

    I'm not trying to be mean. I understand getting "a fan's POV" is what this is all about, and they aren't professional writers. I get that. But if they are over 18, they are grown ass men, and should have a small amount of pride in what they are doing. The reviews here are just plain hard to read. This review in particular is overly repetitious, unimaginative, and, worst of all, the punctuation is completely fucking broken. I apologize if this is someones kid brother or something. In that case, it's forgivable. But if not, no offense, but you have got to get better. I'm not singling out Russ either. I'm talking about everyone who writes for this site, with a few exceptions. I'm not saying they shouldn't get their shot at writing comic/movie reviews. I'm just saying they should seriously start doing some work in their off time and let someone read and review their shit. I don't think that's asking a lot. Do SOMETHING to improve your craft, dammit!. There have got to some creative writing classes at the adult learning annex or something.

  • Sept. 4, 2012, 3:45 p.m. CST

    Fuck the haters! I AM THE LAW!

    by IAmLegolas

    Rock it :

  • Sept. 4, 2012, 3:58 p.m. CST


    by Nasty In The Pasty

  • Sept. 4, 2012, 4:05 p.m. CST

    Ok...what just happened?

    by Darth Macchio

    And what is muppet-vision?

  • It worked before, when it was called Robocop.

  • Sept. 4, 2012, 4:45 p.m. CST

    I'll be the judge of that!

    by misnomer

    ...more Joel Schumacher Dredd dialogue to follow...

  • Sept. 4, 2012, 4:46 p.m. CST

    The Kidd vs Dredd!

    by aphextwin

    Get ready...

  • Sept. 4, 2012, 4:47 p.m. CST

    Whas the difference between DREDD and ROBOCOP?

    by Mike Soiseth

    The look and tone and plot are basically identical. They even wear the same visor, shoot the same gun and speak in the same mono voice. They also live in the same city that is plagued by the same type of graft, povery and crime. Same movie, same character, different name.

  • Sept. 4, 2012, 4:50 p.m. CST

    Danny Cannon directs TV episodes

    by BigTuna

    He directed a lot of the orginal CSI.

  • Sept. 4, 2012, 4:50 p.m. CST

    Forget District 9, What about the Raid Redemption??

    by K3nn3th

    I can't believe no one is really mentioning The Raid Redemption comparison. One baddie at the top of a slum apartment building with a rookie cop (judge) and having to reach the top to take out the baddie. C'mon, what is it like compared to the original. Does it rip it off or not?

  • Sept. 4, 2012, 4:52 p.m. CST


    by skoolbus

    Just kidding. Dredd looks great.

  • Sept. 4, 2012, 5:11 p.m. CST

    Really k3nn3th?

    by Martin

    You haven't noticed anyone mentioning this is like the Raid? Have you been away somewhere? I'm sick of people saying it's ripping it off. I'm lucky enough to have seen both films and they are very different. And no, it's nothing like the Stallone effort if that's what you mean by the original.

  • Sept. 4, 2012, 5:13 p.m. CST

    Positive Review from Quint at Aint It Cool

    by sauchieboy

    Now this is how you handle a reboot. Stallone’s Judge Dredd sucked and I’m not just speaking from vague memories (I recently stumbled upon it on TV and looked on in horror) or from the crybaby uber-fan perfectionist angle (I’ve never read one 2000 AD cover to cover, much to my geek shame). The filmmakers and studio looked at a crap film with great potential and started from scratch, deciding to get right what Stallone’s film got wrong. Again, not speaking as a die hard fan of the character, I can say that this Dredd, as played by Karl Urban, is a far stronger character. He has a simple job and he does it with little emotion. There’s not an over-complicated frame-up plot device here. It’s a very, very, very, very simple story. Tough cop and his unlikely new partner get trapped in Mega tower and have to fight their way to freedom. In that respect, yes… the similarities to the incredible action film The Raid did cross my mind. I have to imagine when director Pete Travis sat down to watch The Raid he just kept muttering “Oh, fuck me… fuck me… Goddamnit!” over and over again, but I know this film was well into production when The Raid began screening, so I’m sure it was just one of those nasty movie-world coincidences. It’s a shame, but the action is so different that it’s quick to shake The Raid off. For better or worse, Dredd’s such a wildly different character than Iko Iwais’ Rama that it changes the whole tone of the set up. Rama didn’t make it through any fight without taking a hit. Dredd is much more of a superhero in that regard. There’s only two points in the movie where he’s on the outs, really. Olivia Thirlby’s Anderson is the more vulnerable one. The drama really revolves around her. She’s a newbie, a cadet in training that isn’t all that spectacular in any combat or strategic regard, but she’s given a chance because of her special gift. In this post apocalyptic wasteland there are many deaths due to radiation… and some surprising aftereffects. Most mutations show themselves physically, but Anderson’s mutation is that she has a little psychic touch. It sounds super cheesy, but they use it very well. Think of her like a fledgling Professor X. She struggles with their prisoner (played by Wood Harris), but not in a physical way. It’s a mind game and she’s far his superior. They do some pretty clever stuff with it, actually. They handle that aspect of the movie with surprising smarts if I’m going to be a bit doting. That’s not to say Thirlby plays this character as weak. There comes a point early on in the film where she has to pass judgment and she does so. Three things to follow up that picture. One, yes, the bullet trajectory is wrong, but it doesn’t play that way in the film. Two, she’s not wearing a Judge helmet and we never see her in one for a very specific reason: it interferes with her abilities. This fact does not go by without a smart-ass comment from Dredd, by the way. Three, look at that brain matter! That’s just the tip of the iceberg. You can say many things about this movie, but tame is not a word you’ll see associated with it. In terms of gore, they swing for the fences. With some very creative use of super slow motion (thanks to a plot device involving an inhaled drug that slows perception down to a crawl) we get some choice violence, the kind of graphic violence ratings boards really, really hate. If you’ve ever wanted to see what a bullet going through a dude’s jaw looked like in slow motion, then by God Dredd’s the movie for you! Karl Urban lets his ego go here and embraces what many actors would fear to be a one-note character. On the surface Dredd’s not much more than an eye-less scowl. Stallone couldn’t stay in the mask for even a quarter of his movie, but Urban does not take it off once. Not once. Which means his performance relies on line delivery and body language. It’s a helluva thing for an actor to take his eyes out of a performance and Urban has to be applauded for his bravery in doing that. It not only works, it makes his character so much more interesting than if he lost the helmet halfway through or some other convenient bullshit. This Dredd really is an unmovable embodiment of the law with a slight touch of humanity underneath it all. From a filmmaking standpoint this film also gets high marks. It doesn’t shy away from the exploitation elements at all, but it also treats them with respect. It might revel a bit in the violence, but it’s all for an overall tone and feel that is somewhere on the right side of the Punisher: War Zone-esque guilty pleasure line. It’s a pleasure-pleasure movie, not a guilty-pleasure movie. There are some really thoughout character beats here, so it’s not a hollow exercise in violence. They don’t forget the dark comedy elements, the action is well done, the guns are badass (who doesn’t want to a weapon that can switch over to an explosive round with a simple voice command?) and minus a couple of jarring dark digital photography moments the whole thing is crisp and easy to follow. My only complaint is I don’t think they did as good of a job setting up the geography of the building as they could have. That’s one thing The Raid did really well. I always had an understanding of where the good guys were and where the bad guys were. Here it seemed more random and conveniently empty at times. But that’s a tiny nitpick and one that didn’t really bother me while watching, just something I thought about as I was writing this review. As with most films if they get the characters right that’s the battle won. I really liked Thirlby and Urban in this film and I wanted to watch them on this little adventure. I even liked Lena Headey’s Ma-Ma, the boss lady villainess. It’s hard for me to see her and not think of her as Cersei Lannister now, but she seemed to be having a bunch of fun in the movie and was a believable hardass. Anyway, the flick’s strong, with a hell of a great sound design and some crazy Verhoeven-level violence/satire moments that made me smile. From the reaction of the hardcore Judge Dredd fans in the crowd, I’d say the fans will be happy with this movie, too. Speaking as an ignoramus (what else is new?), I think fans of exploitation flicks will enjoy it as well. Anybody who enjoys letting go and having a good time at the movies will get a huge kick out of this film.

  • Sept. 4, 2012, 5:15 p.m. CST

    Positive Review from Capone at Aint It Cool

    by sauchieboy

    I'll admit, it's been a number of years since I've even accidentally laid eyes upon Sylvester Stallone JUDGE DREDD, but in my faded memory of the film, I remember it as a comedy. The scenes that stick in my head are of Stallone and Rob Schneider. I'm sure die-hard fans of the source material comic book were appalled; I simply watched it, shrugged and moved on to the next Stallone movie, which he was still pumping out at a fairly regular pace back in the mid-90s. So the best advice I can give you going into director Peter Travis' (VANISHING POINT) DREDD is pretend like that other one never existed. This version seems perfectly synched, stylized (but not overly so), hyper-violent, pulp science fiction that paints the picture of the world in the not-to-distant future where a huge portion of the eastern seaboard of America has become one giant scorched earth city where crime runs rampant, and the only way to expedite the justice system is to have the national police force (known as Judges) serve as law enforcement, judge, jury, and if necessary, executioner. And very often, they find it necessary. There's no emotion involved in the judgements, no defense, and the judges seem to have a lot of flexibility about how they can carry out executions, so it allows for creativity on the job, I guess. But even among the names of judges whispered in the Hall of Justice, that of Judge Dredd (Karl Urban, of LORD OF THE RINGS and STAR TREK fame) seems to be the stuff of legend in terms of his exploits and swiftly delivered style of justice. As it should be, despite the fact that Urban is a classically handsome actor, we never see more than his nose and snarling mouth for the entire film. He puts on a gruff voice that reminded me a middle-aged Clint Eastwood mixed with a little of Christian Bale's Batman (not quite that whispery, but ragged nonetheless). The result is a persona that civilians would rightfully fear just from his stature and tone. And the fact that he kills a lot of bad guys without hesitation. The blood and gore in this film seems to have a heavy emphasis on chunks. Brain matter and other head-wound debris seem to be the order of the day. When a bad guy takes a bullet or has an explosive device rip through their body, we are rarely spared the details, and I'm quite okay with that; some of you may find it too much. What I find fascinating is that despite the high body count in DREDD, I actually remember many specific kills, partially because we experience several of them in slow motion. The reason for this is that many of the victims are on a drug called Slo-Mo, which makes your brain experience the world at 1 percent the speed, which makes a long fall down a 200-story building seem like an eternity. After we see Judge Dredd dispense with justice first time, he is saddled with the unenviable task of assessing the readiness of a rookie judge named Cassandra (Olivia Thurlby, completely breaking type with her usual indie-film, quirky-girl roles). She is expected to fail the process because she technically failed the entrance exam, but it turns out she has psychic abilities (mutants are apparently common in this version of the future) that allow her to read minds with startling accuracy. The Justice system thinks she'd be useful, and Dredd is expected to field train her for a day. The pair are called to the aforementioned housing project known as the Peach Trees, a massive steel structure run by the Ma-Ma clan, to investigate a triple homicide. Ma-Ma is actually a scared former prostitute played by Lena Headey (300, "Game of Thrones"), and she is one nasty bitch who regularly punishes anyone who crosses her by skinning them alive before murdering them. You will grow to fear her and her rather oily-looking facial scars. During their investigation, the judges take into custody one of Ma-Ma's lieutenants, Kay (Wood Harris from "The Wire"), and she does not like that one bit since they plan on taking him in on suspicion of the murders. Ma-Ma is more worried about his cracking under interrogation and spilling the beans about her operation, so she puts the entire building on lockdown and announces to the building that she'd be ever-so grateful if someone in the complex would take out the judges. The film eventually becomes a race by the judges to either get out of the building (not likely) or go up the entire 200 stories to take out Ma-Ma and her crew and anyone else in the building that might do them harm. If this scenario sounds suspiciously like the plot of THE RAID, yeah, there's not much I can say to discourage that line of thinking--it's remarkably similar. But the good news is, both films are very good; DREDD is just a whole lot bigger in scale. Travis does a remarkable job of keeping things moving, while keeping the tone serious but with room for the darkest of dark humor. Thurlby is not on hand to deliver quippy dialogue or be the hapless female in this endeavor. She makes rookie mistakes, but that's in line with her character's level of experience; not because she's a woman holding a big gun. She seems more vulnerable only because she's the only judge that doesn't wear a helmet (it interferes with her mind-reading abilities), but by being able to see her face, she also humanizes the almost robot-like judges. But she kills and takes the hits with the best of them. Judge Dredd is the badass that you want from this film, but Cassandra is the heart and soul of a film that would die under its own weight without her. I should also mention a nice supporting turn by Domhnall Gleeson (one half of HARRY POTTER's Weasley twins) as Ma-Ma's computer tech, who is treated like some sort of pet to her, and not in the good way. But in the end, the film comes down to the dynamic between Urban and Thirlby, which is both as student/teacher and as equals. Many of the snap judgements in the film belong to her, not him, and by him giving her that responsibility, she is allowed to show just how ready she is for the job (or not), and it makes us respect her more immediately. I should mention that DREDD is in 3-D, but aside from a few shots near the beginning of the film and most of the slow-motion sequences, the film is so dark that I rarely even noticed that 3-D was part of the movie. With any 3-D work, I tend to get a lot of emails asked if the up-charge is worth it; in this case, it is not. Aside from that, if you can handle truckloads of graphic violence, you're in for a hardcore action ride the likes of which I haven't seen in quite some time from a mainstream, non-horror release. Prepare to have your mind and eyes assaulted in the best possible way.

  • Sept. 4, 2012, 5:20 p.m. CST

    Sounds like a video game...

    by MJAYACE

    Fights his way up 200 levels to the big baddie on the top floor. I wonder if he will find weapon upgrades and save points along the way?

  • Sept. 4, 2012, 5:23 p.m. CST

    Dredd wrapped before The Raid even went into pre-production ...

    by sauchieboy

    Dredd shot from November to December 2010, around the same time The Raid went into pre-production. Shooting on The Raid began in March 2011. These are facts. Garland's script for Dredd was leaked online in 2009, was widely available, and much discussed within the industry.

  • Sept. 4, 2012, 5:28 p.m. CST

    Dredd wrapped before The Raid even went into pre-production ...

    by sauchieboy

    Dredd shot from November to December 2010. The Raid went into pre-production in December 2010 and didn't start filming until March 2011. These are facts. Garland's screenplay for Dredd was leaked online in late 2009.

  • Sept. 4, 2012, 5:38 p.m. CST

    sauchieboy - why are you posting everything TWICE

    by D o o d

    Trust me, it does not get your post anymore noticed. It does, however, make you look stupid!

  • He's even admitted seeing the Peach Tree's Dredd script before he even finished writing The Raid's script, and what a surprise, whole scenes are identical virtually down to dialogue. But every moron on this site ad everywhere else is parroting "this is like The Raid!!!" No, dickheads. The Raid is like DREDD. Because The Raid's director stole from it.

  • Sept. 4, 2012, 5:52 p.m. CST


    by JOEUMAN

    Where and when does Evans say he saw the Peach Trees script before he finished the Raid? It's a coincidence.

  • Sept. 4, 2012, 5:57 p.m. CST

    Sauchieboy is a former 2000AD employee

    by coolfan123

    It's been claimed he is writer Kelvin Gosnell. He adapted the Stainless Steel Rat for 2000AD. It's possible - although unlikely - Sauchieboy is John Wagner. Hand on heart, Sauchieboy posted on IMDB and said he was John Wagner. It's a long story but he said he was Wagner, that he wrote Origins. And Sauchieboy said he was a sub-editor. John Wagner was a sub-editor. But my guess is he is Mr Gosnell (doing a credible Wagner impression) and he posts to get people to support the film.

  • Sept. 4, 2012, 5:59 p.m. CST


    by Martin matter how many times you say that someone will, in the next few posts, scream that this is a rip off of the raid. Mind you, this is nothing compared to the comments on YouTube.

  • Sept. 4, 2012, 6:04 p.m. CST

    Rush Sheath is a copy of

    by coolfan123

    his dad (but better looking) :P

  • Sept. 4, 2012, 6:07 p.m. CST

    Trust us. We're right in this case.

    by UltraTron

  • Sept. 4, 2012, 6:12 p.m. CST

    Why don't people wait until the film comes out...

    by coolfan123

    and then they can judge it for themselves. Who cares if people say it's a rip-off of The Raid or if people have posted plant reviews. The film is set to depict the toughest cop since Dirty Harry so if it sounds the sort of thing you like give it a watch. It's very violent so that should please some AICN posters!

  • got to meet what their parents only read about in comic books.

  • Sept. 4, 2012, 6:15 p.m. CST

    Here's one reason to see Dredd 3D...

    by coolfan123

    Dredd's lawgiver gun fires six types of bullet: 1) Standard round 2) Armour piercing 3) Hi-explosive (hi-ex, for short) 4) Ricochet 5) Heat-seeker 6) Incendiary That's a good enough reason to consider seeing Dredd 3D. Dredd's gun is a mini-war machine!

  • Sept. 4, 2012, 6:18 p.m. CST

    And no Rob Schneider!

    by coolfan123

    An entire Judge Dredd film with no Schneider. That's like watching the Star Wars prequels without Jar Jar Binks. See, that's another reason to consider seeing Dredd 3D. :)

  • still holds up pretty well. I just saw it the other day and the 3D is still solid. Better than terminator ride which is showing age in areas. They re-did the amazing spiderman 3D and it still isn't as perfect as muppett vision technically but- well that one part of spiderman where you come out and it looks like the statue of liberty on the water. Depends on your seat but that shot is great

  • Sept. 4, 2012, 6:27 p.m. CST

    I'm talking bout the amazin spiderman ride not movie

    by UltraTron

  • Sept. 4, 2012, 6:31 p.m. CST

    Dredd rules fuck yeah!!!

    by UltraTron

  • Sept. 4, 2012, 7:47 p.m. CST

    Im with ultratron


  • Sept. 4, 2012, 8:40 p.m. CST

    Russ sheath you sir are a douchebag

    by raptorman

  • Sept. 4, 2012, 8:41 p.m. CST

    Russ sheath you sir are a douchebag

    by raptorman

  • Sept. 4, 2012, 9:43 p.m. CST


    by Kid Dynamite

    The raid is the best action movie of 2012.. Why does it have to be a kung fu movie??? It's an all Asian cast, is that it??? This movie is classified as Action, not kung fu... When I think of Kung Fu I think of Jet Li or some shit, but this is purely action and a fucking good one...

  • Sept. 4, 2012, 9:58 p.m. CST


    by PatientZer0

    Okay...I'm not a hater, I love this site, and I'm glad that Dredd is good. BUT WHO THE FUCK LET THIS 6th GRADER NAMED RUSS SHEATH WRITE A FUCKING REVIEW? AT LEAST EDIT THE DAMNED THING AND PROOF READ THE SUMBITCH. The writing on this site is a fairly low caliber, grammatically speaking, but GODDAMN. This is like the writing of a developmentally challenged 12 year old. I Saws dredd. I thut it was goood. Call me a sceptic.

  • Sept. 4, 2012, 11:09 p.m. CST


    by Andrew Quinsatt

    Are you referring to The Raid motherfucker???

  • Sept. 4, 2012, 11:15 p.m. CST

    well, i am sold! I've been waiting 20 years for this flick!

    by LabattsBleu

    there's a lot of solid reviews posted from credible AICN contributors that makes me think this has a solid chance to be a nice little franchise a la Blade, Underworld or RE. Kudos to Garland, Travis and Urban. Can't wait to see it!

  • I haven't seen The Raid yet, but Dredd seems to have a bunch of other elements to it that help differentiate it from The Raid. There is stuff like the fact that Dredd is just a much bigger scale movie, has a woman as the main villain, and also a psychic partner tagging along in the character of Judge Anderson. Then you've got the fictional slo-mo drug concept added to Dredd as well. And as has been stated, Dredd was written and in production before The Raid was even in the works. That is not to take away from The Raid. I'm looking forward to seeing it. It just seems silly that of all the things to get worked up about, instead of getting up in arms about a Hollywood cash-in remake of The Raid, people act like Dredd shouldn't even be released, and as if it is some horrible offense like remaking Citizen Kane or The Godfather. If Dredd can't exist because of a similar plot point to The Raid, then lots of movies need to be recalled and burned in a giant furnace for the sake of cinematic justice. What's that you say? You like the movie Predator? Too bad! It is too similar to both The Most Dangerous Game and Aliens. Die Hard? Really just a flip on Alien, where instead of the monster being the villain, it is the hero that is running amok and hiding in the air ducts waiting to pounce. RoboCop and The Terminator? Too bad for you, as both feature cyborgs who are at the whim of a monolithic entity that has dark motives and a thirst for power. I guess since RoboCop came out three years after The Terminator, it means that it must be banned... Although, RoboCop was heavily inspired by the Judge Dredd comics. Now we've gone full circle.

  • Sept. 4, 2012, 11:52 p.m. CST

    Dredd is a mfukin sci-fi 3D thing. Nobody gonna compare dishit

    by UltraTron

  • Sept. 5, 2012, 12:04 a.m. CST


    by Kid Dynamite

    Now say something racial about black people, I dare you, lol...

  • Sept. 5, 2012, 12:07 a.m. CST

    Sci-fi is relatable, etc (can't wait to see the flick)

    by Psycho_Kenshin

    Gotta disagree where you say making it a more normal world than the comics makes it essential for us to believe it etc. That's kind of an odd slight at all sci-fi. The more futuristic sci-fi of the comics works well, and any setting can work if you invest and connect. Ditto to saying it's more believable that Dredd is unknown to criminals and the populace. As for the stuff about the Stallone movie, wouldn't comparing it to the Keaton Batman make more sense, as much as I love West. It's more recent, from 95. Also, while it's not faithful to the comics, oddly enough some elements from the books are in that movie that wouldn't be in this one. So, no need to bury it in a coffin I'd say. That said, this movie does look badass, and as a big Dredd fan I look forward to seeing it. Though I would've liked more characters from the books. Still, looks dope.

  • Can you imagine if Disney got their mitts on the film rights to the 2000AD line and tried to fit Judge Dredd into the Marvel superhero movie mold? Dredd would be done up as a PG or PG13 origin story with someone like Channing Tatum or Johnny Depp as Dredd, with even less mask-wearing than Stallone's version had! Even the Stallone Judge Dredd, which was fun but steered a bit far from the source material, was sort of an origin story in that it delved into the history of Dredd and that Janus Program stuff about cloning new Judges. Thankfully it seems that this new adaptation is letting Karl Urban portray Dredd as a sort of man with no name style dark and violent lawman.

  • Sept. 5, 2012, 12:16 a.m. CST


    by Andrew Quinsatt

    You stick to the movies you like and I'll go fuck my white bitches cause I make that pussy fart...White pussy makes a lot of noises, you ever notice that??? It's like playing a musical instrument everytime... Her white boyfriend couldn't satisfy her so she had to call a real sugar daddy to get the job done... Have fun watching Dredd Billy boy....

  • Sept. 5, 2012, 2:08 a.m. CST

    Saw it the other night...

    by Darkness

    It's just your average action flick dressed up as a comic book movie. It's saving grace, is that it's an improvement on the Stallone debacle. Karl Urban makes for a good Dredd - especially taking on Ma Ma in the Block war. Writer Alex Garland treats the character with respect, but kinda gets lost halfway through. It's well photographed, considering the budget they had to play with - hated all that fancy slo-mo shit though. But Paul Leonard-Morgan's score is an absolute abomination: Probably one of the worst film scores in recent times.

  • Sept. 5, 2012, 3:10 a.m. CST

    archiebald -- the score

    by lv_426

    That sucks to hear that the score they went with isn't good, when they originally had an awesome score that is now known as Drokk. The Drokk version is very retro 80's synth style and is reminiscent of the classic scores of that era by John Carpenter, maybe with a little original Terminator style Brad Fiedel mixed in here and there. IMO Drokk has the perfect kind of sound for a Judge Dredd film.

  • Sept. 5, 2012, 3:23 a.m. CST

    Heh heh m heh m m heh heh

    by pearlanddean

    He said 'sheath', heh heh

  • Sept. 5, 2012, 3:25 a.m. CST

    Sounds awful

    by baldalienprobeinhighheels

    dark, dreary, humorless, cold grey hues... sounds like something Mr Beckinsale might whip up

  • Sept. 5, 2012, 5:32 a.m. CST

    Answer for symbioticfunction

    by Lampers

    Yes. Religiously during the 80s. I couldn't wait for the new Prog to land each week and I had all sorts of merchandise. I lived and breathed Dredd for a few years, and then sort of drifted away from it. Moved to comics full of characters wearing spandex, and then away from that too. I know my Dredd. I LOVE Dredd. And I have a soft spot for the Stallone film which is a heroic failure. It deserves decent analysis that's a step above "can't believe they took of the f*cking helmet". Sufficient?

  • Sept. 5, 2012, 5:47 a.m. CST


    by Lampers

    Thank you. Criticisms of the (95) film that AREN'T about the bloody helmet. I agree, mostly. If I'm honest (rare) the story, tone and humour are dreadful. Stallone even isn't really on form, his impediment, largely absent for years prior to this, is back with a vengeance. Maybe it's all the shouting? But I still very much love the look of it and for a moment at least, mostly at the beginning, I felt like I was finally in Mega-City 1. I think the stick it gets is disproportional to that which it deserves. Many worse films get a much easier ride from the fan community. And to that other chap, I never said I'm not looking forward to the new one. I very much am, and will even give it a go in 3D even though I can count the positive experiences I've had with THAT with one hand. I hope it's good, I hope it makes money and we get a bigger budget sequel... ...and then we can have a timeslip alternate reality crossover with Stallone! No? Just me? I can dream!

  • Sept. 5, 2012, 6:41 a.m. CST

    THE RAID...

    by Johnny Wrong

    ...was pretty dull. Just sayin'.

  • Sept. 5, 2012, 6:51 a.m. CST

    true_american is a little bitch...

    by Andrew Quinsatt

    I knew you was some little 12 yr old teenbob fag... Got nothing to say now bitch???

  • Sept. 5, 2012, 7:03 a.m. CST


    by Neil Harrison

    Thanks for the answer. There are moments in the 90's adaptation that I enjoy - I even own the German blu-ray. I especially like the block war, the long walk, and Mean Machine Angel. But there's just so much 'horrible-ness' thrown into the mix. Removing the (oddly designed) helmet never bothered me quite as much as having american football style shoulder pads & a codpiece added onto the uniform. That film badly needed the violence re-instating too. And having Dredd kissing Hershey is so 'out there' that I'm still not sure what to make of it. I'm glad that there's a fresh adaptation...I shall see it this weekend.

  • Sept. 5, 2012, 7:06 a.m. CST

    Another great review has landed

    by coolfan123 "A couple of slow moments in the second half aside, it’s difficult to find too much to fault in Dredd. The 3D is effective but not spectacular. That line between glorifying ultra-violence and satirising a fascist regime is walked, though some audiences may be put off by the brutality. But for fans of the comic, and hopefully a wider audience, it’s exhilarating, intense and darkly funny, and it is the Dredd we’ve been waiting for. He is the law." I haven't seen one negative review of Dredd 3D. "It's just your average action flick dressed up as a comic book movie. " Not surprised. I read the leaked screenplay in the summer of 2010. Seemed like Die Hard set in a MC-1 block. But the reviews don't seem to care and praise the film for being faithful to the source material. I think everyone should make up their own mind and consider seeing the film. Your opinion is the only one that counts. :)

  • Sept. 5, 2012, 7:29 a.m. CST

    Lot of kung fu hate

    by phast freddy

    here. Didn't realize this was a site for gay nerds.

  • Sept. 5, 2012, 7:32 a.m. CST

    Plus why doesn't anyone give credit to

    by phast freddy

    Attack the Block?

  • Sept. 5, 2012, 7:37 a.m. CST


    by Lampers

    See, this is what I'm talking about. Take a step back, give the film a fair shout and compare the good with the bad. Good list, thank you. Those are all great moments. There's a LOT to love in the 95 Dredd. A lot to hate too. But as comic-to-movie adapatations go, I've seen MUCH worse. I'm not going to start a list but The Spirit anyone? Christ-of-fuck that's a horrible movie. And the Schumacher Schatmen? Let's not even go there. Ang Lee's Hulk? Like Dredd, it had good moments that have been FAIR eclipsed by the bad. I said I wasn't going to start a list, moving on... Maybe an enterprising fan could compile a new edit? Like that Phantom Menace cut that removes Jar Jar I heard about. Wonder what the running time would be if you removed all the guff? Reckon you'd still get a good hour or so out of it. The bad is REAL bad but it's comparatively brief. And as for Dredd kissing Hershey. Yeah, that's totally out of sync with the comics. Only defense? In 95 I'd be doing a damn site more than just kissing Diane Lane if given the opportunity! Hell, last I saw she was still looking fine. Yes, I am white, but I went there.

  • Sept. 5, 2012, 7:41 a.m. CST

    Oh, I forgot to say...

    by Lampers

    ...I LIKE the Stallone outfit. Codpiece and all. No nipples, thankfully. Thought it was a real nice riff on the classic look, made functional and tangible for a new decade. When they redesigned the Lawmaster and Lawgiver they even acknowledged that they were v.2.0 versions. Liked that a lot. PS. It's cut in the UK for those who thought it not-violent-enough. Yeah yeah, it's only a double handclap from my understanding, but thought it was relevant that a film lambasted as not-violent-enough had to be cut to pass certification. Clutching at straws? Maybe.

  • Sept. 5, 2012, 8:49 a.m. CST

    Judge Dredd 1995 cut in UK.

    by Judge Anderson's kinky boots

    Lampers. I think you're getting confused with Demolition Man (an easy mistake to make) which was indeed cut on its release in the UK (thankfully now uncut on UK Blu-Ray). It was earclaps that got the BBFC in such a flap back in the day! Judge Dredd 1995 was passed as an uncut 15 at the cinema. But on release on VHS some cuts were made-most notably, Mean Machine's headbutts-which is highly ironic considering Mean's MO. This was down to the fear of "imitable" violence that the BBFC were in such fear of back in the 90's!

  • Sept. 5, 2012, 8:55 a.m. CST

    No chance

    by Dheep

    Haven't seen it. Might watch it a year from now. I like all the actors. But... Regardless of how good it may be - Come on - you're talkin' Sequel ? Not a chance . Not at all. Almost No One will see this movie. If its good ,that's a shame. But really ,who will see this movie? Very very SMALL numbers.

  • Sept. 5, 2012, 9:32 a.m. CST

    If Lionsgate hype it big time for two more weeks

    by coolfan123

    and the reviews remain strong, who knows, it might open at number one? September grosses are much lower than August's so you never know, Dredd could open reasonably big (20 - 25 million?) and grab the top spot. I think this could gross 50 - 70 million at the US box office.

  • Sept. 5, 2012, 9:45 a.m. CST


    by chuffsterUK

    How DARE you talk sense??!!DROKK YOU!!;-)

  • backfor back-up. He'll know every porn site preference of all his intended victims-er, perps. He'll strike once every last penny has been drained from the useless populace who paid for their own destruction. So convenient. A complete takeover without ever declaring war. Oh wait are we talking about a comic book or reality?

  • Sept. 5, 2012, 9:48 a.m. CST

    Appetite for destruction.

    by Judge Anderson's kinky boots

    I'll think there is a healthy appetite for an adult comic book, Sci-Fi action film after all those anemic, juvenile spandex botherers. I think you may just be surprised by Dredd's success.

  • Sept. 5, 2012, 9:55 a.m. CST

    Yeah we need those..

    by UltraTron

    hollow points for target practice. Everybody paying attention? I don't have time to revolt I'm just a small woman. I need you guys to kill all the badguys for me. Go! Go kill em. They need killing bad.

  • Sept. 5, 2012, 12:05 p.m. CST

    So whywould a nuclear war destroy the CENTER of the country?

    by Smerdyakov

    You'd think the east coast would have been the primary target and that Mega-City One would be located in Minnesota or Mississippi.

  • Sept. 5, 2012, 12:53 p.m. CST

    Someone presumably decided to hit the US in the breadbasket...

    by Bill C.

    ...that is, the Midwest, on top of it being where a fair chunk of the military's nuclear arsenal is. So it'd be targeted for both those reasons. That said, if this is supposed to be in the U.S., the three most likely locations for such a sprawl to start up (NYC, Atlanta, and probably the entire Baltimore-to-D.C. corridor) would likely be priority civilian/manufacturing targets as well in a full-scale nuclear exchange. And why am I thinking so hard about this?

  • Sept. 5, 2012, 2:39 p.m. CST

    DC and New York were protected by missile defence shields...

    by sauchieboy

    Podunks bore the brunt of the war that created the Cursed Earth. See John Wagner and Carlos Ezquerra's fantastic Dredd story 'Origins' for more detail.

  • Sept. 5, 2012, 5:18 p.m. CST

    well you got one NOW !

    by qwsdqwedq sdbcjhdwiuvdh

    just saw the trailer, and urban sounds like he is channelling eastwodd from one of his DH movies - listen to the line "well you got one NOW !" in the trailer

  • Sept. 5, 2012, 5:37 p.m. CST

    Stallone's Dredd censored in UK...

    by Neil Harrison

    The British Board of Film Classification didn't like headbutts. And wouldn't release a home viewed version uncut with a 15 certificate. It wouldn't be a problem with a re-release, as long as it was properly re-submitted to the BBFC. Times have moved on over here. btw Tell you one thing I absolutely hated about the 90's version - the invention of "double whammy" bullets. F**k me, so damn lame...if it ain't broke, don't fix it.

  • Sept. 6, 2012, 10:48 a.m. CST

    Ang Lee's Hulk....

    by Neil Harrison

    ...odd decision hiring an art-house director to make a Hulk film. The photography is beautiful but the project is misjudged imo. My only personal dislike is making the Hulk different sizes to visually explain his increasing anger making him more powerful. An interesting film.