Showing posts with label Judge Dredd. Show all posts
Showing posts with label Judge Dredd. Show all posts

Wednesday, September 26, 2012

Double Bill: Dredd (2012) & Judge Dredd (1995)

This post was never intended to be a post-mortem but after Dredd's extremely disappointing box office last weekend it's going to be tough not to try and examine what went wrong. I think a lot of the blame has to be Lionsgate who once again proved their marketing department isn't up to scratch. Much like Conan last year, the campaign for Dredd was quite underwhelming - two posters and only one trailer? Released a couple of months before opening? It's going to be interesting to see if they correct their mistakes for next year when I, Frankenstein opens. Also, I think audiences are slowly getting more and more turned off by 3D films - they can tell it's a cheap way to boost ticket sales. Anyway, let's put all that behind us and take a look at the film itself.

Dredd is set in the future where nuclear war has forced Americans to live in three enormous walled mega cities. The police have disbanded and in their place are the Judges - law enforcers who can execute people on sight. Judge Dredd (Karl Urban), a veteran officer is assigned the job of assessing Cassandra Anderson (Olivia Thirlby), a rookie with psychic abilities, and takes her on a routine call out to Peach Trees - a 200 story block of flats. However, when they get there the drug lord ruler of Peach Trees, Ma Ma (Lena Headey), locks down the building and orders her men to execute the judges.

The first thing to say is that, in case you didn't know, Dredd is an adaptation of a very popular UK comic strip from 2000AD which has run since 1977 (admittedly, it popularity is mostly confined to the UK). It's an anarchic, violent and often witty comic strip that predominantly likes to take pop shots at America society and culture. Alex Garland's small scale script is certainly violent, occasionally witty but feels distinctly lacking in anarchy. Urban does a great job as Dredd, channeling a young Clint Eastwood and does a heck of good job consider he's only allowed to act with his body, chin and voice. He's ably supported by Thirlby who more than holds her own as Anderson, and is given the bulk of the character journey for the film. Headey as well, gives a spirited punk-inspired performance as Ma Ma (though arguably she never seems really terrifying like a good bad guy should).

For the most part, I really like the way the film was put together. The Judge costumes look like proper military/SWAT armour. To create the sprawling metropolis of Mega City One they just photoshopped Johannesburg and made it stretch for miles. And all the CGI work is made up of subtle background elements that really create a credible vibe for the city. Dredd is clearly taking a page out of Chris Nolan's Dark Knight films, smoothing out the more outlandish bits of the comic book and making them as realistic as possible. For me, the problem was that the story just felt too small. I can see that the makers have had to think carefully about the script in order to accommodate their $45 million budget but the film still felt too narrow, too "on-rails". There's very few interesting subplots or developments after the initial story is set up.

Also it never feels like Dredd and Anderson are ever in any real danger - unlike John McClane in Die Hard or Rama in The Raid. Both judges have superior weapons and gadgets that get them out of most situations very quickly. As the trailer lays out, they have to get to the top of 200 story block of flats but it never seems like much of slog. In fact, they use an elevator to get up most of the floors. I'm all for seeing a "day in the life" of Judge Dredd but I think they could have made some more dramatic story choices. Or broken up the action a bit more, the problem was that the story seems quite epic - wow, they've got to get up 200 floors - but it's actually quite dull visually, given that each floor looks exactly the same as the last.

As noted early, Dredd is also a 3D movie which I felt was a bit of an unnecessary choice. There are some very cool slow motion bits throughout the film of people being shot but these were already highly saturated and stylised (great work by cinematographer Anthony Dod Mantle), the 3D felt a bit like overkill. I know it sounds like I'm quite negative on the film but I did enjoy it - it's certainly a three star movie - I just expected a bit more from the film. Given that the performances and costume work (not to mention the source material) were all pretty awesome, it's a shame they couldn't have been housed in a more engaging film.

GRADE: B-

Okay, and now on to Judge Dredd, the 1995 film starring Sylvester Stallone. This got a lot of backlash on release from fans and non-fans alike. Fans hated the fact that Stallone's Dredd not only takes his helmet off but also kisses his colleague Hershey - two things that the comic book character never did. They also didn't like the film's mostly comedic tone. While non-fans complained of deja vu as the film came out within two years of Demolition Man, another Stallone film which saw him play a cop who chases a psychotic criminal through a futuristic city while using excessive force.

Despite these criticisms I still enjoy the film quite a lot. I was never that bothered that Dredd took his helmet off* and yeah, I agree that Stallone should have picked either this OR Demolition Man because the material IS too similar. Still, it's a fun, robust adventure movie that doesn't take itself too seriously. Also, unlike Dredd this film does take a lot of the iconography of the comic book and transplant it verbatim. The costume has it's cheesy eagle shoulder pads, the cannibalistic Angel family are featured and even the main robot is taken from the 2000 AD comic (though admittedly, from another strip ABC Warriors).

Judge Dredd sees Stallone play the titular character, a no-nonsense futuristic cop who is framed for a murder he didn't commit by his twin brother Rico (Armand Assante). Despite the best efforts of his partner Judge Hershey (a smokin' hot Diane Lane) he's sent to off to prison but his transport plane is shot down over the wastelands. Here he's forced to team up with small time criminal Fergee (Rob Schneider) to break back into the city and stop Rico from taking over control of the city. I know it's a little unfair comparing the two films. Judge Dredd had the advantage that it had a huge star in the lead, a $90 million budget and came out first. A lot of people have suggested that Dredd did poorly because people still remembered this one being a flop.

What I enjoyed about the film is that it retains some of the wacked out comedy of the comic strip that was absent from Dredd. I know Rob Schneider's a very annoying actor but, in this, I thought he was okay. He's there to poke fun at how po-faced and serious Judge Dredd is and I think he made a good and appropriate counterfoil. I still really enjoy his introduction in the film as he takes a shuttle bus through the city and tries to spot where he's going to get relocated only to realise the "Heavenly Haven" apartment blocks he's assigned to is an absolute warzone. And then gets arrested 10 minutes later.

Also, the set work was brilliant. Okay, a lot of it is obviously a soundstage but it's so huge and domineering - a parody of Ridley Scott cityscapes in Blade Runner. Sure, the costumes were questionable (spandex jumpsuits with a cod piece? Really?) but they were also really well designed and realised. They weren't really meant to be realistic, this wasn't a realistic movie. The cast is brilliant as well - Jurgen Prochnow, Max Von Sydow, Diane Lane. Stallone was a decent choice to play Dredd. It's kind of a catch 22 in that the film wouldn't have had the budget it had without him, but with him it ensure that it was going to have to be a film about a Judge Dredd who took off his helmet for the most part. No movie executive would fund a $100 million film with a star's face permanently obscured.

Basically, Judge Dredd was a compromised adaptation from the outset but I still think it's a pretty enjoyable action film regardless. It has a huge scope, weird characters, plot twists, hover bike chases, shoot outs, fights with robots. Call me a 10 year old, but this is the kind of stuff I love watching. There are some flaws in this one as well though. I hate the horrible bit where Hershey works out Dredd was cloned in a lab by removing photoshop layers from his baby photo(!) and how ever many times I watch it I still can't believe they cut out the sequences with all the clones coming to life at the end. That could have been an amazing fight sequence! By contrast Dredd is, tonally, a more faithful adaptation but it fails to do very much interesting with its protagonist.

Anyway, I guess I should wrap up. I liked both these movies. I'm not one for star rating but Judge Dredd maybe gets 3 and half stars while Dredd gets 3. Judge Dredd has the slight advantage in that I've watched it 20 more times than Dredd and given that I was 12 when it came out I maybe view it with rose-tinted glasses. I'll likely give the new film another go later on DVD. I think one of the problems that both films faced is that the comic is deceptively multi-layered. It's satire/action/comedy/horror/sci-fi which borrows from lots of other works; Mad Max, Death Race 2000, Dirty Harry, Blade Runner to name a few. In a lot of ways it's a melting pot and in trying to adapt it you can only really pull out two or three major threads, you always lose something important.

GRADE: B+

* And before you ask, yes I have read Dredd for many years - I'm a big fan of the early stories: The Cursed Earth, Day the Law Died, Judge Child, Block Mania etc. Anything drawn by Brian Bolland. I kind of fell out of love with it when it turned colour in the 90s.

Wednesday, August 1, 2012

Music Month: 10 favourite movie scores

As a bit of break from reviewing movies I thought I'd lay down some of my favourite movie scores. I'm a complete sucker for buying the soundtracks to movies I've just watched. It kind of prolongs my enjoyment of the film. I can put it the score on in the background while I work and (assuming it's a great score) it instantly takes me back to those feelings I had when I first watched the film.

The Wind and the Lion (1975) - Jerry Goldsmith
I know Jerry Goldsmith has done a ton of stuff that is way more famous than this but I absolutely love this score. It's so rich and sweeping. The definition of a bombastic score. Okay, it owes a bit of debt to Maurice Jarre's Lawrence of Arabia but it's just so damn catchy. I think I've probably only seen the film once but I must have listened to this collection of tunes hundreds of times.

Tron Legacy (2010) - Daft Punk
I think everyone can agree that Daft Punk were an obvious choice for the Tron sequel. Their back catalogue of electronic dance tunes made them seem perfectly suited but I certainly didn't expect them to mix it with a proper orchestral score. There's a definite 50/50 split in terms of the tracks but them meld so well. No disrespect to Wendy Carlos but I far prefer this to her abstract, experimental score for the original.

Dune (1984) - Toto
I love how in the 1980s a lot of filmmakers experimented with using bands rather than composers. Toto seem a odd choice for a sci-fi epic given that their most famous hit was the cheesy yacht rock hit 'Africa' but they really pulled it out the bag with this one. Though the actual film may have a lot of structural problems the laid back, progressive, synth-heavy score really pulls it together as a whole.

Assault on Precinct 13 (1976) - John Carpenter
I couldn't go without including one score my favourite director/composer. I'd love to put his whole back catalogue on this list but if I had to pick one this is my favourite. Sure there's a lot of repetition - a lot of ambient effects - but I love the little hooks he comes up with. They're so simple but so effective, capturing the horror and suspense of the film. Also, he's the only people on this list who can't read music! (Hats off).

Conan the Barbarian (1982) - Basil Poledouris
Much like the title character Poledouris' score pounds you over the head repeatedly (but in a good way). I love this score for the same reasons as Goldsmith's Wind and the Lion. It's so damn epic and evocative. I've read a few of Robert E Howard's short stories since buying this and I can't help but have this music running in the background while I read. It so perfectly fits alongside his words.
 

Legend (1985) - Tangerine Dream
I know a lot of people complain that this score ruins Ridley Scott's otherwise timeless film but for me it gives it an otherworldly feel. Famously, Jerry Goldsmith wrote a full orchestral score but Scott had it chucked out because he felt it needed something more commercial. I feel bad for Goldsmith but this is a better score and I love the two accompanying songs by Brian Ferry and Jon Anderson.

Trancers (1985) - Mark Ryder and Phil Davies
As I've said many times I absolutely love this silly little b-movie from Charles Band. Tim Thomerson's performance is half of what makes it so good and the score is the other half. Like Carpenter's work, it's all synth-based, full of simple hooks and utterly 80s sounding but, hey, there's nothing wrong with that! It's never been officially released so here's a link. You're welcome. www.rapidshare.com/files/283878344/Tr_ncers.rar

Blade Runner (1982) - Vangelis
Such a wonderful score. I've now played it so many times I need to take long breaks in between listens in order for it to retain its power. I love how the score fits the complex world Scott created. The electronic background hum, for instance, becomes the opening of the track 'Blade Runner Blues'. If you can, skip buying the official version and try and track down the more complete Esper Edition bootleg.

Judge Dredd (1995) - Alan Silvestri
Always feel its a shame Silvestri never got a full score album and had to share the soundtrack with some forgettable rock songs. Still, those seven released tracks are awesome. Again, another heavy bombastic score, this time with a recurring military marching motif. If you're a fans of Silvestri's Predator score will most likely also enjoy this as well.

Princess Mononoke (1997) - Joe Hisaishi
I wanted to pick at least one Studio Ghibli score for this list and this one is probably my favourite. Joe Hisaishi's somber and moving compositions perfectly compliment the ethereal tone of the film. Heavy on the violins and other stringed instruments. There's also a definite mix of western and eastern influences. I'm no classical music buff or anything but there's some definite hints of Debussy and Chopin.