2000AD Archive


What is the #DayofDredd

If you found yourself on twitter today, the chances are good that you saw somebody using the #DayofDredd hashtag. Rest assured, this is neither a typo nor a lamentation of October 1st as a day of planetary ennui. Instead, it’s a call to action for a sequel to 2012’s cult-classic in the making, Dredd.

Anyone familiar with my website knows that Dredd instantly became one of my favourite movies when it was released. In doing everything it could to align itself with the Judge Joe Dredd comic strip from 2000 AD, Dredd gave fans of Mega City One’s top-cop the movie that they’ve been wanting ever since 1995’s Danny Cannon directed Judge Dredd took a steaming dump on the collective hopes of an entire fandom.

Despite the fact that Dredd garnered praise from both the critics, yours truly included, and the fans, also yours truly included, it didn’t do particularly well in the box office.

As of this blog post, Box Office Mojo reports Dredd’s lifetime grosses at ~$35 million. The Numbers (.com) pegs the figure at ~$40 million with DVD and Blu-Ray sales of ~$17 million.  With the movie costing in the neighbourhood of $50 million to produce, Dredd isn’t exactly what movie producers deem a financial success.

The rationales behind the movie’s underperformance are various and sundry. Some people blame a poor marketing campaign. Others are apt to blame the fact that Dredd had 3D foisted upon it for the lack of audience draw. The elephant in the room of the blame game is, of course, Captain Codpiece.


What a shame to think that people didn’t go see Dredd because they were burned on Judge Dredd. Imagine what would have happened if people invoked that logic and avoided The Avengers because of Ang Lee’s Hulk.

Perhaps hoping for a Dredd sequel (or a Judge Anderson movie) is nothing more than a pipe dream. Even if the Dredd-heads of the world got #DayofDredd trending for an entire day, worldwide, it probably wouldn’t be enough to make a second film worth the potential financial risk. Be that as it may, there’s no reason not to watch Dredd if you fancy yourself a person who would like to see a post-apocalyptic version of Die Hard.

Still on the fence?

How would you feel about watching a movie where the female lead is a fully realized character and not some tedious sort of sex kitten meant to be an object of male power fantasy?

Not good enough?

Multiply everything I just said times two because the film’s antagonist meets all of the above criteria.


This script, sets, and directing create a world that is genuinely bleak but still engaging. Judge Joe Dredd laughs in the face of Panem and your other barely-feasible, milquetoast dystopias.

And if all that isn’t enough for you, then you’re probably dead inside.

#dayofdredd may not get us a sequel, but if nothing else it’s a great way to spread the world about one of the best sci-fi movies of the last few years.


Podcast Episode 24: Solo Nerdings

Huzzah! The Page of Reviews podcast has returned after a prolonged hiatus due to nerdy severe technical difficulties.

Topics under discussion include:

-          Female starfighter pilots.

-          The maligned nature of the X-Wing within the Star Wars film canon.

-          My review of Fantasy Flight Games’ Star Wars: X-Wing Miniatures tabletop game.

-          Adam’s terrible voice acting skills.

-          Blake Robinson’s synthetic orchestra, which is as awesome as Adam’s voice acting is terrible.

-          Kudos for Nick and Candice over at the Limited Release Podcast

Feature track: Hope Runs Deep as arranged by Blake Robinson from the album Video Game Orchestrations Volume 1.


Cold Intro Music: The Lady of Vastness by Dan-O at DanoSongs.com

Theme music:  Bionic Commando stage 4 (Dale vs Wray mix) (NecroPolo) / CC BY-NC-SA 3.0


Movie Review: Dredd 3D

I’m not sure what post-modern film neologism I should use in framing Dredd 3D – which for the rest of this review shall simply be known as Dredd. Discussing Dredd in terms of a reboot invites a comparison to 1995’s Judge Dredd, which may further imply some level of actual legitimacy to the aforementioned movie. The often used term “reimagining” doesn’t work either as the ’95 story was so utterly divorced from 2000AD’s comics as to make Stallone’s movie the reimagined version of Mega City One and Judge Joe Dredd. Instead I’m going to call Dredd a “Hulking” of Judge Dredd. Hulking, which I think I just made up, draws its name from the Ang Lee directed Hulk and the Louis Leterrier directed The Incredible Hulk. Therein two movies emerge from the same mythology, but the latter shows complete contempt for the former in completely ignoring all aspects of its story telling. This results in the Hulked film being much better than the predecessor.

Then again, what isn’t better than this?


How then does Dredd take us to a place where we can forget about Mr. I am the Law? Like so: Dredd is what would happen if Training Day had a one night stand with Die Hard. Only Die Hard ended up getting pregnant, so it gave the infant Dredd up for adoption. That’s when surrogate parents Total Recall (the good one) and Robocop came along and took Dredd as their own. The resulting movie is as much a study in urban entropy, as it is a glorious blood bath which breaks down would-be heroes and turns them into pragmatic anti-heroes.

As a street judge, the embodiment of police and judicial power, Dredd (Karl Urban) knows that he can’t make things better in Mega City One. Dredd goes so far as to explain this to rookie Judge Anderson (Olivia Thirlby) as he prepares to take her out on her training day. Despite the resources and near absolute power of the Judges, Dredd explains they can only respond to 6% of the reported crimes in MegOne. Between this well placed exposition and a few key scenes of poverty and privation Dredd builds a believable atmosphere of overcrowding and wide spread unemployment. In fairness, I think it misses the mark on the actual aesthetic of Mega City One. Shots of the city imply space between buildings and breathing room that simply isn’t there in the comics. Granted, this change is nothing a newcomer to the mythos would notice, nor is it so heretical to the source material as to put off established fans. Yet it is noticeable.

Through luck, or perhaps Judge Anderson’s psychic intuition, Dredd and Anderson end up at the Peach Trees block, a kilometer high apartment building that serves as the setting for most of the narrative. Unbeknown to the Judges, Peach Trees has become the distribution and manufacturing point for a new designer drug called “Slo-mo”, which does exactly what it the name suggests. Where I expected Slo-mo to turn its users into cranked up versions of Neo a la The Matrix, it instead lets junkies slip into the colour palette shifted beauty which exists between seconds. For the audience, the Slo-Mo effect is alternately beautiful and distracting.

When Dredd and Anderson break up a drug den, the juxtaposition of life at 1/100th the normal speed and the frantic pace of urban combat is nothing short of fantastic. It accentuates the violent nature of life in MegOne as well as the absolute power the Judges must apply to stave off the inevitable collapse of society. But when the perspective shifts to follow characters who are high for the sake of being high, the Slo-mo effect gets tiring. Things like post-production shimmer effects on Slo-mo’d shards of glass and viscera end up looking artificial and cheap, probably due to the waste of time and resources that is modern 3D.

As for the remainder of the story, it is very much in the tradition of Die Hard, except inverse. When the prostitute turned gangster Ma-Ma (Lena Headey) seizes control of Peach Trees and locks down the block with Dredd and Anderson inside, they have to fight their way to the top floor to restore order and judge Ma-Ma. And in that mission, all of the principle players nail their roles.

Though Karl Urban has the fewest lines of dialogue, he executes perfectly as the Law. Without the benefit of facial expressions north of his lips, Urban strikes the right balance of dead pan, matter of fact, and near indifference to the events unfolding around him. On that point, no small amount of credit is due to writer Alex Garland and director Pete Travis for giving Mr. Urban all the tools he needed to become Judge Joe Dredd.

Lena Headey’s portrayal of Ma-Ma makes Cersei Lannister look like a declawed domestic house cat by comparison. Ma-Ma is vicious, sadistic, and utterly without mercy. What’s fantastic is that so much of her cruelty comes through non-verbal cues.

Not to be out done by the others, Oliva Thirlby manages to hold her own in taking Judge Anderson from a C- cadet to a proficient street judge. Anderson is perhaps my favourite character in the film if only because it would have been so easy to take her rookie idealism and turn it into a farce of weakness. Instead, Anderson proves herself as strong as Dredd in her willingness to pull the trigger. If we stop to think about the broader implications of Anderson using her psychic abilities to torture information out of a perp, granted they had already found him guilty of attempted murder of a Judge, we can make case for Anderson being even more dedicated to the Law than Dredd. Dredd sentences and executes as the situation dictates, but Anderson violates the very essence of an individual as a matter of course.

I have only one significant point of contention with the script. As if to fill in a third act that would have been too short on its own, Dredd introduces a few corrupt Judges to the mix. And while Judges do go bad from time to time, the idea that four Judges would just sell themselves for money seemed a little implausible. Again, if I wasn’t somebody who enjoyed how MegOne could break a Judge in the comics, I likely wouldn’t have a problem with this appropriation of a time tested “cop movie” trope. Either way, it speaks to a bit of a troublesome plot slowdown in what is otherwise a well paced production.

In the final assessment, Dredd does a lot of things right, even if it stumbles a little along the way. From a distance, the aesthetic of Mega City One is a little too close to home. MegOne isn’t contemporary Toronto or New York with a bit more traffic. But what Dredd misses on the essential late 21st / early 22nd century hell hole look, it more than makes up for in tone. Dredd is a brutal story of an anti-hero in a decaying world. As such, Dredd ignores a lot of action movie gimmicks. The good guys shoot first. The bad guys shoot straight, well straighter than most. It is subtle political commentary paired with a blood bath in the finest tradition of Paul Verhoeven. For fans of the comic strip, and newcomers intent on discovering one of the bleakest visions of the future, Dredd is the movie we should have got fifteen years ago.

Dredd 3D

Directed by: Pete Travis

Starring: Karl Urban, Lena Headey, and Olivia Thirlby


Dredd Trailer and Breakdown

The Theatrical Poster for Dredd

A bit of disclosure before I talk about the Dredd trailer. I saw Judge Dredd in theatres back in 1995. At the time I was fourteen years old, and I loved it. I could not understand why my father thought it was a giant turd of a movie. I suppose it had something to do with his having read a few 2000AD comic strips where I had not. Fast forward to the aftermath of my 26th birthday party wherein a drunken Shaftoe demanded to watch the Judge Dredd DVD he got as a joke present. On that day I came to understand the complete and utter contempt that Joe Dredd’s first screen appearance held for the source material.

Therein lay the challenge for director Pete Travis and his new Dredd movie. I can talk about disrespect for the source material and Stallone’s diva-ish demands not to be stuck under a helmet for ninety minutes until second coming of Bruce Campbell, but that’s going to do nothing to disassociate the name “Judge Joe Dredd” with this monstrosity. For eighteen years, this has been how popular culture and popular memory have crafted Judge Dredd. Bearing that in mind, the Dredd trailer had, in my mind, only one objective: to show me, and anybody else who might enjoy a science fiction movie, that Dredd is as far from Judge Dredd as can be. Let’s take a watch.


Initial impression: Training Day meets Die Hard set in Mega City One.

The first thing to note is the rating on the film: “R” instead of “PG-13”. That in of itself should be some indication that Lionsgate is going to treat this movie with the seriousness that the source material always offered its audience. Next is the vision of Mega City One. Instead of something that looks like a Warner Brothers farce of Blade Runner’s Los Angles, this city has a real dystopian feel about it. The block towers are surrounded by slums. Ramshackle ground vehicles, rather than the obligatory flying cars of the future, populate the trailer.

Then comes the hook. There are no megalomaniacs out to conquer the world. Nor do we see crooked judges tenting their fingers like Mr. Burns. Instead, we are presented with a drug war, the perfect compliment for a cop story. The foe: a drug queen called MaMa played by Lena Headey. Her product: Slo-Mo, a drug that makes the user perceive events at 1% of life’s normal speed. I’m going to give the story the benefit of the doubt and assume that the drug only slows perception not actions. Thus, every user stands to become Neo.

So we’re fifty-nine seconds into the Dredd trailer and it is already better than the first fifty-nine minutes of Judge Dredd.

Karl Urban’s narration also helps remind the audience that this is not Judge Dredd. In that film, Mega City One was a big-ish city of fifty million people. This Mega City One is clearly the one from the comics, stretching from the East Coast of Canada down to the Carolinas and as for West as the Mississippi. Pairing MC1’s population of eight hundred million with scenes of urban unrest establishes the lawless reality of this post-apocalyptic world. This world is grim and bleak, but not so over the top that it starts alienating potential viewers.

Meanwhile the trailer hints at a story that targets the action movie crowd as a whole, not just a handful of genre aficionados. Dredd is paired with rookie Judge Anderson on her training day when MaMa takes over her block tower. All of the Slo-Mo production is focused in that block, so if the judges can take it out, they remove the only source of the drug. Instead of fighting killer cyborgs, robots, and clones, Joe Dredd is going to become the inverse John McClane, working his way up a sky scraper to take out terrorists and drug dealers.

Sidebar: I didn’t think it possible to cook up a character for Lena Headey who would be more chill inducing than Cersei Lannister. Freudians around the world are going to have a field day with this one.

What are we left with at the end of this trailer? Judge Dredd is a motorcycle cop, not a runway model for fetish wear. Mega City One is a horrible place populated by terrible people where the street judge system is a necessity rather than some picayune attempt to be totalitarian. The antagonist is played by one of the most fantastic actresses of the last ten years, who looks to be in fine form for this picture. Assuming the trailer is honest to the final product, Dredd is going to be a gritty cop movie first and a science fiction story second. Karl Urban is clearly doing everything he can to dislodge the brick of Camembert that Stallone shoved up Dredd’s ass back in the 90s; he even manages to deliver Dredd’s iconic “I am the law” with all the seriousness that it deserves.

Am I going to go see this? Allow me to answer that in my best Judge Dredd voice, “What do you think, creep?” I won’t say that Dredd looks like the smartest movie out there. However, the trailer suggests something that has the chops to regenerate a much maligned character. Simultaneously, the environment of Mega City One could prove an equally impressive rendering of a now classic dystopian world.

Let’s just hope there is an option to watch it without the 3D gimmickry.