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Judge Dredd
[Blu-ray]
Blu-ray ALL - America - Buena Vista Home Entertainment Review written by and copyright: Anthony Arrigo (1st December 2012). |
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The Film
 Often times, there are genuinely good films that – for one reason, or a thousand others – didn’t click with audiences or critics. Usually, these films are summarily roasted, lambasted, and then left to rot on video shelves across America (well, when those places still existed) where the occasional renter would chuckle to himself while passing it by. Time, however, can sometimes be kind to a neglected, forgotten title that wasn’t quite deserving of the lashing it received upon release. While I won’t heap lavish praise onto Sylvester Stallone’s much maligned “Judge Dredd” (1995), I will say that it is a film that turned out to be much better than my memory recalled. Save for the odd bits & pieces caught on cable over the years, the last time I truly sat down and watched the film straight through was when it was new in theaters, and I was 13 years old. In the ensuing 18 years (side note about the lament of old age) my tastes have expanded and refined considerably, and I’ve been subjected to a whole host of cinematic endeavors that have helped shape my ability to critique. So, you know, I was hoping that all of my “experience” might allow Sly’s gold-shouldered dystopian actioner to be seen in a more favorable light than my memory had shone. I’ve often found that there’s a common elementary equation that factors into most film fans’ minds, and that is: Seeing “Bad” Film Once in Theaters + Number of Years Cinephiles Spend Bashing It = You Recall a Piece of Sh*t. Don’t feel bad, we’ve all been guilty of it at one time or another. Even movies you might recall being only marginally good can be rendered unwatchable dreck with the right discussion. Likewise, films you remembered as being in the upper echelon of cinema (usually childhood favorites) don’t always hold up like you’d hoped once a repeat viewing comes into play. Point is, just about every competently made film (subjective as that may be) deserves a second chance if you’ve got the time to give it one. Truth is, Stallone’s incarnation of the legendary 2000AD comic anti-hero isn’t the film equivalent to cancer. There’s a lot they got right, a lot they could’ve gotten better, and some inconspicuous crap that can’t be denied. Since it’s so popular to hate on it, let’s talk about what Sly and director Danny Cannon got right. I love the production design with its sumptuously gritty, detailed sets. Forget the fact that this practically-apocalyptic future has the same dystopian visuals as just about every other similarly-themed sci-fi film out there. Not taking into account its own influences, everyone can agree that “Blade Runner” (1982) looks to have set the standard for how you want your future cities to appear. I’m perfectly fine with this. The look is haunting, and it achieves the feeling of claustrophobia and dread (you know what? pun intended) that seem commensurate with living in a giant ant colony. If you’re constructing a world where overpopulation and crime run rampant, and most of the planet has been rendered uninhabitable, you’ve got two choices: build up, or build out. Most choose the former, some the latter. Either way, it’s how you present these worlds that can make all the difference. Cannon filmed a perfect opening in which we’re given a bird’s eye view of Mega-City One (through the eyes of… groan… Rob Schneider), with a look at the crowded hordes living like kings high above the rotten, festering underbelly on the streets, ravaged by crime, vandalism, rebel warfare; it’s a warzone in every sense of the word. And who brings law to these lawless savages? The Judges. Stallone rides up on his hover bike with a cocksure, no concern attitude that reflects the intended demeanor of Dredd. He gallantly rides up in the heat of battle with complete disregard for the gunfire and explosions around him, preferring to spout off lines about “accuracy range” while calmly preparing for annihilation. After the city’s scum (one of whom is the always ass-kicking James Remar) is reduced to waste, a few more one liners commence and you’d almost think we’re in for one helluva film. Once the actual mechanics of the plot are put in motion, though, we’re quick to learn that this is just another Big 90's Action Movie wrapped up in the cloak of a superhero-esque future tale. Dredd gets framed for a crime he didn’t commit, wrongly convicted and sent to prison (which is in Aspen, apparently no longer known for its ski season), escapes, has to fight his way back and clear his name. Sounds like a fairly standard modus operandi, no? That’s part of where the film’s problems lie; they try to give Dredd an arc, something to break down and rebuild his character. And, though I was never a reader of the comics in which he appeared, I am aware of the fact that Dredd is generally an absolute, a one-note figure that serves as the right hand to Mega-City One’s Council Judges and – quite simply – enforces the law in black & white. There are no shades to be found here. Hell, he’s rarely ever seen with his helmet off in the books. Did anyone honestly think a major studio would hire a top draw like Stallone (who was on the wane at this point in his career) and NOT have him helmet-less every chance they got? Honestly. Anyway, point being that Dredd is supposed to do what he does best within the confines of Mega-City One, not have an emotional, almost teary range of development where we see there’s a heart beating underneath all that Versace armor plating. That’s another thing – when you’re aspiring to create a world of hopelessness, grit, despair, and brutally uncompromising justice don’t let Gianni Versace create the costumes for your human weaponry. Dredd doesn’t look like a war hungry, battle scarred enforcer who could scare the shit out of a perp at 20 paces. Instead, with his outrageously ostentatious golden shoulder pads and impeccably tailored, form fitting ensemble he looks like someone who just stepped off the runway at the Judge Dredd Spring Fashion Line runway show. I didn’t have a problem with the helmet although, again, it had a little too much polish and shine to it. Maybe he gets a new one every day? I don’t know. As I said, Dredd is tasked in this film with clearing his name more than anything else, and his main adversary in all of this is former “best friend” – actually, his clone experiment brother – Rico, played by the ferociously hammy Armand Assante. Is there a line he doesn’t oversell? If so, they must’ve cut it. Assante clearly works within villainous archetypes, and the only thing his character is missing is a mustache to twirl as his evil plan goes just as he had foreseen. I suppose it makes sense to the story, since Rico is supposed to be Dredd’s equal in almost every way, except that he’s a complete psychopath. Someone’s gotta match Stallone’s unbridled charisma (which, like his career, was waning around this time), and while Rico couldn’t possibly be any more one-note in his mannerisms and aspirations (wait, what exactly was he hoping he achieve here anyway?) it all seems appropriate for something originating in a comic book. Remember, this was back in the days before people wanted to film comics seriously. Speaking of a later of serious tone, who thought adding in Rob Schneider as Fergee, the film’s comic fodder was a good idea? That person should be summarily judged by Dredd, because his presence is this film’s hangnail; an annoying little sh*t that you can’t seem to get rid of. I’ll admit that at first I wasn’t terribly bothered by Rob’s appearance. He had a couple amusing lines, his entrance to the slums of Mega-City One essentially had him serving as our eyes to the world we’re about to enter. But once the opening scene has concluded, his purpose has been served. There’s no need to see him again. But we do. And it’s everything he’s known for, namely: being annoying. There’s a scene halfway through where he and Dredd have to quickly run through a furnace duct, and I prayed he’d be incinerated despite the fact that I already knew he wouldn’t be, and that they’d never do that anyway. Rob’s life role is to be the constant cameo in every Adam Sandler movie, occasionally headlining his own horrid offerings, but he does not belong in this world. Ever. I think that if there were a way to excise him from the film people might appreciate it more. He’s that grating. At least we get some solid actors to appear as well. Diane Lane is looking as svelte as ever in her role as Dredd’s potential love interest/fellow judge. Although, her most memorable contribution to the film is kissing Dredd during the closing moments, something that did not sit well with fans. Not content with letting Armand Assante chew up all the scenery, we’ve also got German heartthrob Jürgen Prochnow unleashing his brand of maniacal yelling in between brief moments of clarity. Fans of “The Walking Dead” (2010-present) will get a kick out of seeing Hershel appear as Pa Angel, patriarch of the cannibalistic band of roving maniacs who lay claim to the Cursed Earth. And, of course, tying it all together with a giant ribbon of gravitas is the inimitable Max von Sydow, who has a substantial role as Dredd’s… well, he’s partly his creator, partly his mentor, and fully behind him in support. Von Sydow really brings some weight to the film, and his scenes are among the most personal in the film. I have to throw a little love to James Earl Jones as well, who provides uncredited narration for the film’s opening prologue. While there are many things working against “Judge Dredd” being remembered as a good film, it’s clear there are things it got right. Fans of practical FX work and artistry will revel in seeing all of the impressive matte painting work on display here. Nowadays, nobody does matte backgrounds; it’s all digital-only. This film allowed some of the past masters to show off their lost craft. There’s also a good deal of prosthetic work here, the most impressive being the bionic brute, Mean Machine Angel (Chris Adamson). His design is a grotesque marriage of flesh and steel, with a wicked attitude to boot. So, after hearing all the pros and cons of Sly’s misjudged, possibly-better-than-you-remembered-it attempt at making a Judge Dredd film, do you feel like giving it another shot? “I knew you’d say that!”
Video
Dredd’s 2.35:1 1080p 24/fps AVC MPEG-4 encoded transfer is quite pleasing despite the fact that no remastering or restoration appears to have taken place. Adrian Biddle’s cinematography is visually striking, with a distinct contrast between the scummy, crumbling streets of Mega-City One juxtaposed with the sterile, pristine environments (and uniforms) of the judges. The film has a predominantly steely blue hue to it, which is seen as a preferred shade throughout the cityscape. The world feels worn, lived-in, just as the story intended. The decaying ruins of the lower depths of the city are strewn with debris; restaurants advertise their offerings with buzzy, neon signs that hang brightly in the dim expanse of this wasteland. The judge’s outfits are extremely flashy, especially the gold shoulder pads which glisten and glimmer even in the most unforgiving of environments. This is an image that can handle shadows and darkness with ease, as viewers will note that picture quality never takes a hit when the lights go low. Dredd’s excursion outside the city walls and into the ruins of the Cursed Earth is bathed in sickly yellow hues and burnt desert tones. Faces reveal a good amount of detail in close-up shots. It looks like there may be a very minor amount of DNR applied to the picture – grain remains in a thin, almost invisible layer, and faces do have an ever-so-slightly waxy look in a few scenes – but it’s really nothing distracting. A couple of the older optical effects look a bit rough, but considering how most dated effects look in hi-def I’d say “a bit rough” is a minor victory. Well done, Disney.
Audio
Like Dredd himself, the film’s English DTS-HD Master Audio 5.1 surround sound track mixed at 48kHz/24-bit is a blunt, ruthless beast that just does not let up. Bass is absolutely booming, with a heavy, thick low end that had my floor rumbling from the opening scenes right up to the end. Many of the larger guns present, in particular, have the force of a small cannon when fired. This is an active track, with lots of activity from all corners of the room. When the judges appear during the opening siege, the sound of their bikes pans effortlessly from rear speakers to front, as though they’re right in the room with you; same goes for any scenes where airships cruise through the skies. The surrounds are constantly engaged throughout with the howls of rioters destroying city streets, the judges dispensing justice with their side arms, the overheard whoosh of flying cars and bikes, advertisement billboards squawking at motorists… there’s just so much to be heard. Alan Silvestri’s score is bold & dramatic – perhaps a bit too much so at times. Some of his themes come across as a little too “hero worship” hokey, but more often than not his work brings a heightened sense of urgency to the proceedings. Dialogue manages to never be difficult to discern despite the heavy action, but listeners will note that the bombastic effects are given a meatier mix in the track. I was very impressed by the sound field, dynamics present, and the overall depth of the track. It’s got all the explosive power it needs, and then some. Also included are a French Dolby Digital 5.1 track, and a Spanish Dolby Digital 2.0 stereo track. Subtitles are available in English for the hearing impaired, French, and Spanish.
Extras
Judge’s Dredd’s one and only appearance on DVD resulted in a non-anamorphic, featureless dumper of a disc that certainly deserved better, especially when you consider the conflicts surrounding the film. Here, Disney has shocked me by including a new-to-home–video feature, even if it is a relic from the VHS age. Actually, I kind of like that; it’s like viewing something left in a time capsule. “Stallone’s Law: The Making of Judge Dredd” (480p, 1.33:1) featurette runs for 20 minutes and 2 seconds. This professionally produced piece is introduced by Stallone himself, slouching in a director’s chair and occasionally acting like he’s reading an issue of the titular comic book. Thanks to the lengthier running time, a good amount of detail regarding the plot, characters, and sets is covered. They also (unintentionally, I’m sure) show some minor lines and footage that would ultimately be cut from the final film. The films’ theatrical trailer (480p, windowboxed, and with voiceover by James Earl Jones!) runs for 2 minutes and 11 seconds. Finally, we get the usual suspect bonus trailers (1080p) for other Disney properties: - “Frankenweenie” runs for 2 minutes and 19 seconds. - “ABC TV promo” runs for 1 minute and 20 seconds. - “Anti-smoking PSA” runs for 51 seconds.
Packaging
The 50 GB single disc comes housed in a standard keep case. The cover art is the same image used for the DVD, which is a shame because the theatrical poster would’ve been much preferred.
Overall
I went into this expecting to relive a film from my youth that likely wouldn’t hold up in any way. Instead, I found myself almost feeling guilty for how much fun the film is. Does Stallone get it all right? No. But there’s a lot more to appreciate here than people might realize. It wasn’t ahead of its time of anything, but it isn’t deserving of all the scathing hate it receives. Of course, being a big Stallone fan will certainly aid in your viewing enjoyment.
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