Dredd (2012)

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Dredd takes 1950s noire themes and explodes them into a 21st century action film wrapped around a 1980s concept, but does so successfully and produces a thoughtful action film with a subtle but revelatory character study which makes it both fit together as a realistic drama and uphold the standards of its comic book origins.

The film takes place in a 24th century dystopian sprawl that is what remains of the USA. 800 million people live in Mega-City One, where over 17,000 crimes are committed daily. To keep up with the decay, police and courts have been combined into one forces: the Judges. Roughly analogous to medieval knights, these warriors roam the city and find criminals and administer punishment on the spot, including death. One detail that most fail to notice about this film is that in the poorest areas of Mega-City, just about every person is on welfare. In the Peachtrees Tower where most of the action takes place, 96% of the residents are on welfare. This gives Dredd a realistic take on dystopia, which is that it is a dystopia-utopia where good intentions and expanding humanity have led to an unstable situation.

Karl Urban creates from Judge Dredd the most believable film version yet, restraining verbal expression to the minimum but using pauses and body language to convey more nuanced reactions. Dredd follows the Judge as he takes a new colleague, Anderson, into a futuristic equivalent of the apocalyptic Section 8 housing in American cities today in pursuit of evil drug dealers who are terrorizing the helpless residents. This part of the plot feels like a 1980s holdover and my guess is that most of the people who took exception to this movie did so as a reaction to this aspect of the plot. However, the drug angle takes no greater significance in the plot than to introduce wealthy bad guys with infinite men to spare so that Dredd and friends have someone to fight that will result in a high body count which will disturb no one because of zero sympathy for the dead. The movie adds a 21st century comic book feel by incorporating technological and metaphysical aspects to the plot, expanding it from a pure adrenaline action flick to more of a science fiction hybrid, in a slightly less nuanced version of what Aliens and Terminator did, which is to create a realistic situation in which technology fails and bravery must prevail, and thus bring out some depth to the characters. Urban’s Dredd grimaces and gruffly commands his way through the movie but increasingly reveals the complex mentation required for someone to dedicate his life to thankless fighting of evil with certainty of ultimate death, giving us the most believable Dredd yet.

While not all of this film will appeal to those who find comic books one-dimensional, the filmmakers did their best to rein in those impulses while still delivering enough violence and terror to give this movie the impact it needs to be convincing. Eschewing the approach of the 1990s Stallone Dredd, Urban’s Dredd exists in a world that is more noire than superhero: dark hopeless human existence in which the Judges are more pathological authoritarians than happy heroes, and humanity is revealed as the mewling parasite that it seems to be. In the end, the film is both entertaining and compelling, giving this character fullness in an energetic retelling of a tale as much concerned with order versus chaos as the old Westerns and King Arthur era stories that surely inspired the creation of this one as much as its futuristic dystopian setting.

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Doom (2005)

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The rise of a new medium catches everyone by surprise, especially those who are trying to make it succeed. In the case of video gaming, the medium existed for many years before it came to maturity with the full-featured video games of the late 1990s, spurred on by the massive success of first-person shooter Doom, itself a followup on the renovation of the classic 1980s video game Wolfenstein with Wolfenstein 3D. Then, for reasons unknown, someone made a movie based in the world of Doom, and… it was good.

At the point in time when Doom III, the most proximate inspiration for this movie, emerged, video games had transitioned into something like a film which required user engagement. With full plot lines, accessories for the characters (we might blame 1980s Star Wars figures for this), ability to use in-game utilities to uncover plot, and complex goals to hide the banality of constant machine gun warfare, the new games hybridized all of the successful tropes of video games of the previous decade with the gestures of action movies that succeeded. This gave them new complexity and made the transition to movie more challenging if the film hoped to differentiate itself from the game. Early efforts were often horrifyingly bad. Doom corrects this with a fast-paced, tight-edited movie that keeps the plot of the game at its center, and pays extensive tribute to the game without becoming a string of in-jokes. This film could be watched without any knowledge of the game and it would be as compelling, as it is in fact brainier and more compelling than the average action film.

Doom begins in California, where a team of Marines are heading out to Las Vegas, NV, where an interstellar portal that opens on Mars has been discovered. Borrowing this idea from Edgar Rice Burroughs, the film mixes in bits of Stargate, Aliens and Starship Troopers to show us a group of hard-fighting colonial marines sent on a mission with few specifics. They discover an outbreak of a zombie-like disease which turns out to be a genetic mutation. The wrinkle is that this mutation does not so much change people as reveal what they actually are, and this creates a layer of character depth to the movie which proves instrumental to its plot and steers around the worst of the endless waves of enemies effect that early first-person shooters demonstrated. That being said, this film is designed as an action movie for young men, and so it adheres to the requirements of pleasing that audience. The hammy Dwayne Johnson delivers his usual stern facial muscles and straining deltoids, but his performance is not as central to the movie as the posters might have you believe. Ultra-gruff cinematic violence expert Karl Urban plays opposite to alternatively plain and striking Rosamund Pike, with whom the filmmakers pander to anticipated audience taste by ensuring that her relatively reserved clothing reveals the outline of breasts and nipples in every scene. That is the pulp fiction nature of both video games and action movies, however, and Doom pulls it off by being good-natured but not obsessive. The characters are part of the scenery, albeit scenery that evolves with the plot. As the film progresses, the character drama takes over, and then in one of the most enjoyable breaks in film history, the movie goes into first-person shooter mode for a finale that pays full loving tribute to the original video game.

Perhaps Doom will never be mentioned in East End coffee klatches or fashion magazines, and it may never attract more than a small die-hard cult audience, but it can be appreciated for its renovation of an otherwise uptight sub-genre of film and its ability to make what might otherwise easily deviate into idiot territory into a thoughtful and suspenseful film. The violence of raw first-person shooters here distills, as in Aliens but with less emphasis on pure suspense, to a game of anticipation in which characters must react suddenly to unexpected threats while in the midst of confusion and incredulity as they discover what is going on. The result is part mystery, mostly action film, and part the oldest type of sci-fi which is the exploration of the human being as revealed by his technology, in this case genetic engineering and 21st century violence.

http://www.youtube.com/watch?v=TtXFlzZa-QA

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