DREDD, Carlisle's Final Word.

"In case you have forgotten, this block operates under the same rules as the rest of the city. Ma-Ma is not the law... I am the law."

Judge Dredd.

Script Logic; 1/2

Pace; 2/2

Acting; 1/2

Aesthetic; 2/2

Originality & Intention; 2/2

Final Score; 8/10










Final Word; It's not really saying much if I tell you this is better than Sly 'I am the Law' Stallone's version from the 90's. In fact, that statement does this reboot little justice at all, and Dredd is all about the justice...

I can't say I ever got into the 2000AD comics as a kid, but I understand what they are; cynical, satirical, dark and comically violent- and Judge Dredd was their flagship character, epitomising all of these qualities. This reboot puts that up on screen in spades! 'Good taste' takes a long walk and what's left is a very guilty pleasure.
The script is a typical 'outnumbered-and-outgunned' scenario, akin to such classics as Rio Bravo or Assault On Precinct 13 (the original), while the central relationship is that of the typical grizzled veteran reluctantly partnered with an innocent newbie. Sure, you've seen it all before, but that hardly matters. What's important is how that set-up is used.
The characters are developed just enough so that you empathise with their situation, but never to the point that the pace has to suffer for it. Karl Urban's chin is on fine form as Judge Dredd and Olivia Thirlby makes a sincere and likable (and very sexy) Judge Anderson- and aside from some stylish visuals it's their performances that makes this more than just enjoyable trash. Viewed again recently I'm actually amazed at just how much chemistry they manage to squeeze out of their scenes. On the flip-side of the Law, Lena Headey plays the violent crime lord Ma-Ma, and what could have easily been a scenery-chewing mega-bitch performance is an oddly constrained beast.
If I was being picky (very picky, in fact), I'd say that Ma-Ma could have done with being more charismatic, yet she still manages to be a worthy villain.
The music, while hardly memorable, is perfectly pitched- a dirty ghetto bass-line fit for the crime ridden slums, bursting into life when the lead starts flying. Actually, the music put me in mind of the John Carpenter classics- suspencful, reppetative and nihilistic.

On a final (final) word, Dredd delivers all the goods and has a nice line in dead-pan humor. This balances the often bloody and disgusting violence and keeps the whole thing from becoming too nasty, a neat trick that nods to the likes of Paul Verhovan's films. This is a film for both fans of the comic and non-fans alike, and may even have some of you reaching to the comics for the first time. Next time I'm in a bookstore I may well have a look for one myself...