Dredd

Dredd is an unusual approach to a comic book adaptation: low-budget, simple plot, small cast, few big names and it's only 95 minutes long. In many ways, it feels like an extended pilot for a TV show. But, based on this evidence, there is plenty of potential for franchise development.

It is not surprising that a Judge Dredd reboot has been approached with caution. 

After all, the eponymous futuristic law enforcer from the 2000 AD comic strip has a relatively small fan base compared to the likes of Spider-Man, Batman and Superman. Plus, the last time Dredd was brought to the big screen was in Danny Cannon's 1995 flop, Judge Dredd, starring Sylvester Stallone in the titular role. This earlier attempt floundered at the box office, offended the fans (Dredd never takes his helmet off in the comics), garnered disapproval from Dredd creator John Wagner and earned Stallone a Razzie for Worst Actor, so naturally a relaunch was only going to be green-lit provided it would be a low-risk affair.

As such, director Pete Travis and writer Alex Garland obligingly keep things simple. The plot is straightforward: Dredd (Karl Urban) is partnered with a rookie (Olivia Thirlby) on a routine triple-homicide investigation at Peach Trees, an apartment block under the rule of psychotic drug-queen Ma-Ma (Lena Headey). When Ma-Ma's lieutenant (The Wire's Wood Harris) is arrested by Dredd, Ma-Ma locks down the block and the Judges have no choice but to fight their way upwards through multiple floors of henchmen.

Audiences are therefore presented with a low-stakes mission, limited to one location and a handful of characters. The lack of scale is a smart move and offers cinema-goers a gentle introduction to the Dredd mythology. We get a glimpse of dystopic Mega City One, a brief mention of mutants and an element of the supernatural in the form of Thirlby's telepathic rookie, all of which play a bigger part in the comics and have presumably been reserved for a better-funded sequel.

Most crucially, this focussed approach allows newcomers the opportunity to discover Dredd himself, rather than getting distracted by sub-plots and the wider mythology. Urban's Dredd is thankfully faithful to the 2000 AD comics: a grim, uncompromising, incorruptible force, with no time for humour or wisecracks or mercy. And Dredd purists will be relieved to hear that Dredd keeps his helmet firmly on, resulting in some admirable chin-acting courtesy of Urban.

Travis delivers as director, realising that if a film is low on plot then it should be big on style. Travis keeps the action brutal and the tone dark but can equally deliver inventive camera-trickery when necessary, such as when Thirlby's psychic invades a villain's head for information. The frequent drug-induced sequences are particularly captivating. The aptly-named drug, Slo-Mo, allows for some beautifully balletic sequences as glass shatters, bullets fly and blood splatters, all in slow-motion, with saturated colours and added special effects. These sequences were perfected by VFX supervisor Jon Thum and Alex Garland in post-production and justify paying for those 3-D glasses.

Various critics have noted that Dredd shares its plot with that of The Raid, the Indonesian martial arts flick that wowed audiences earlier this year. Many have argued that Dredd suffers from this comparison due to the frenetic - and admittedly better - action sequences delivered by The Raid. 

But whilst The Raid swiftly negotiated fight after fight, Dredd is more evenly-paced and allows room for the characters to shine. The Raid was populated with two-dimensional characters, headlined by a vanilla hero. Whereas, Dredd offers plenty of engaging characters, such as Thirlby's psychic and Headey's vicious gang leader, with Dredd himself already established as an enigmatic anti-hero. And whilst The Raid relied on Pentak Silat martial arts to excite audiences, Dredd has the advantage of being set in the future which provides plenty of equally cool gimmicks: Dredd's multi-tasking gun (the Lawgiver), his formidable bike (the Lawmaster) and his ever-iconic helmet.

If there is a criticism to be levelled at Dredd, then it would be the lack of scope. But then, as said earlier, this narrow look at the Dredd world was a necessary approach for the relaunch. Predictably, a sequel would heighten the stakes, add some complexity to the story and delve into the wider communities of both Mega-City and the ranks of law enforcement. And hopefully, based on this teaser, cinema-goers will demand a larger-scale Dredd adventure.

But you can be the judge of that.

★★★