Weekly Review -- Lest we be judged...

Dredd (2012) -- There is a certain kind of texture permeating mainstream comic book adaptations of recent years. Apart from the recent solemn Fantastic Four incarnation, films like Iron Man and Thor stick to the tried and true formula of humor and action. It is the morality aspect of these stories and the fall-from-grace mentality of their (anti)heroes that makes them appealing to all ages and demographics. In short, they are fun rides that often reflect human nature.

However, if you are interested in a dark savior and a shadowy world, check out Pete Travis's Dredd, the other side of the cinematic coin. Being unfamiliar with the source material and the 1995 film, I went into this one with love for the cast and for Alex Garland's slick writing. A stylish piece populated with unsavory characters and drenched in brutalist landscapes, this film is a subtle dig at our own existence, offering up a potential hell of our own making.  

**THIS REVIEW CONTAINS SPOILERS**

In a nihilistic future United States, the Judges of the Justice Department also serve as jury and executioners. When Veteran Judge Dredd (Karl Urban) conducts an evaluation on new recruit Cassandra Anderson (Olivia Thirlby) during a homicide investigation in a slum tower block, the two are ambushed by a powerful gang and hunted by their ruthless leader and drug lord Ma-Ma (Lena Headey). With the gang armed to the teeth and closing in on the law enforcers, what are Dredd and Anderson's chances? 

Dredd uniquely straddles the line between an entertaining, slam-bang piece and social commentary. Within the shootouts, brain splatter and psychedelic imagery lies a cautionary tale about the journey of our species. Mark Digby's production design and Anthony Dod Mantle's cinematography depict a rough, dehumanizing setting in which life is worthless, traded as currency and lost in an instant. With its concepts of multi-level slums and an all-purpose Justice Department, the story is timely, tapping into topics such as police violence and global poverty under the clever guise of a frenetic actioner. In many ways, we are living the Mega-City One life right now. It is no wonder that Slo-Mo is so popular in Judge Dredd's world -- these people have to escape their grind somehow. On that note, the Slo-Mo sequences are a sight to behold. The drug idea is terrific, tying in nicely with the narrative and not serving as a mere gimmick.

I also like the connection between Dredd and Anderson and wish that it had been explored further. Dredd is the head of the operation, but Anderson is the heart; in fact, she is the only character whose heart is still functioning. While Dredd believes in black and white, law and crime, us and them, Anderson believes in making a difference on her own terms, eventually becoming disillusioned with her prospective employer. I also wish that there had been a brief backstory on Dredd, so that we could see how he became the best at his job. There is a whole arc from being Anderson to being Dredd, and there is no doubt that Dredd sees himself in the rookie on occasion.

The cast is excellent. Urban, who radiated charm and humor in Star Trek and the unfairly canceled "Almost Human", shows that he is a force to be reckoned with, both as an action hero and performer in general. Wearing a helmet for the duration of the film, he is unable to express himself through his eyes, but his rigid and determined body language speaks volumes and his voice is pure ferocity. Thirlby embraces Anderson's empathy, vulnerability and painful past, and Domhnall Gleeson has a memorable turn as the gang's tech genius.

It has to be said, though, that the standout among the cast is Headey. She commands every scene that she is in, only matching Ma-Ma's apathy toward killing with her ruptured cynicism. The forlorn gang leader does not raise her voice once and does not ever have to. Just take a look at the scene in which she carefully scans her tortured techie as he is trying to hack into the building's sound system; she does not even need words to be chilling. Headey's gift is that she is able to find a chink in the toughest armor, thereby making Ma-Ma one of the most compelling and damaged villains in years. The character is an interesting slant on the bad guy trope, since Ma-Ma reclaimed her identity after having been exploited as a prostitute, making us almost comprehend her misanthropy. Skinning and eye-gouging? Eh, not so much, but nobody is perfect. A weak actor may have misunderstood the role, but having Headey is flawless casting.

The aftermath of Dredd makes me wonder about the audiences' attention span. Why is it not getting a sequel? Why are people unable to accept a helping of social justice metaphors with ordnance? Why are all the Saw films on BluRay, yet this one is difficult to find? There are too many whys and too little time but, if you would like to use your brain while delving into a bleak universe, make sure to pay a visit to Mega-City One.

8/10