(1) DREDD

(2012…There’s an ellipsis because you know there should have been a sequel or TV series)

“I am the Law!”

You also knew this was coming.

My first and true love in comics is not one of the ruling duopoly of comics, DC and Marvel Comics, nor strictly speaking a superhero comic (although its main character is arguably as much of a ‘superhero’ as Batman), nor even an American comic (although it is set there, albeit drastically transformed in the twenty-second century).

It is Judge Dredd, the most iconic character from the British weekly SF anthology comic, 2000 AD, ongoing since it was launched in 1977. Unfortunately, American audiences remain somewhat unfamiliar with (or unresponsive to) Judge Dredd, despite his American setting (albeit futuristic) and despite that he is effectively a quintessential American hero in the same vein as Batman – relying on superior discipline, training, experience, equipment and resources, except as a governmental lawman rather than a vigilante billionaire. They even both effectively remain masked in their public identities, as Dredd never removes his helmet.

Even more unfortunately, the most substantial introduction of American audiences to Judge Dredd was the 1995 film, although fortunately that particular horror is fading with time. This Hollywood travesty was particularly inexcusable, because the essence of Judge Dredd is ultimately very simple – Judge Dredd is a futuristic Dirty Harry in a dystopian (and post-apocalyptic) SF satire. How hard is that, Hollywood?! On second thoughts, this simple formula was probably too much for Hollywood to handle – when they couldn’t even have Dredd keep his helmet on throughout the film.

The 2012 film was much more effective in capturing the elements of the original comic (not least in keeping Dredd’s helmet on throughout the film, with Karl Urban playing Dredd by his chin), but not as effective in capturing an audience – in my opinion and that of a few other people who’ve spoken about it, primarily because its own studio sabotaged it, in effect if not intent.

In its own way, this is as unfortunate as the first film, particularly at a time when comic book movies were in such vogue (and dystopian or post-apocalyptic movies have always been popular) – because if ever a comic deserved its own cinematic or screen adaptation, it’s Dredd, especially when you consider the dreck (or drokk – Judge Dredd slang in-joke alert) that does get adaptations. Perhaps a television adaptation would have been better, as it suits the more episodic nature as well as longer arcs of the storyline.

As for the 2012 film, the plot is pared right down – to the classic storyline of Dredd rooting out criminals or perps from a building, which was essentially the same plot as the introduction of the character in his very first episode of the comic, with the added element similar the film’s near contemporary of The Raid with Dredd being trapped within the building and having to fight his way out. However, the film does have a better antagonist than the comic’s first episode, drug queenpin Ma-Ma played by Lena Headey and written for the film rather than adapted from the comic – and a companion for Dredd with Psi-Judge Anderson, rewritten as Dredd’s rookie for the film.

The pared down plot is perhaps the primary reason why the 2012 film captured the essence of the comic much more effectively than the 1995 film with its convoluted storyline unsuccessfully trying to insert too many elements from the comic for its own good.

FANTASY OR SF

Dystopian and post-apocalyptic SF satire, much like the comic itself – but without the fantasy elements that would later pop up in the comic.

COMEDY

Perhaps the only arguable deficiency in the film is the lack of blackly comic satire that characterized the comic – and perhaps also the only arguable edge its predecessor had on it, although the “comic satire” as such of the 1995 film is highly arguable. However, I wouldn’t make that argument. Dredd as Dirty Harry in a dystopian SF satire is still in the film – and as I said the plot is essentially the same as that of the first episode of the comic, reflecting the original more subtle tone of satire rather than comedy in the comic.

RATING: 5 STARS*****

S-TIER (GOD TIER – OR IS THAT DREDD-TIER?)