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Dredd 3D


Goose
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Anyone notice that the sound effects during the slomo sequences were made with that ultra-slowed down programme that was used for the "Justin Bieber slowed down 800%" thing that was going around a while ago:

I wonder if they used some kind of funny or meaningful song for the Dredd film?

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Just got back from this. will stick a full review in the review thread later.

But, fuck me was this good. Utterly fucking brilliant. It shits all over the Stallone movie (which I like) with only Max Von Sydow and the Lawmaster being missed from the 1995 film.

And this is the ONLY movie that I have ever liked in 3d. 3d was invented for Dredd as far as I'm concerned.

Much to my surprise, the wife loved it. A mate preferred the Stallone version :facepalm:

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Just saw it and loved it. Waxing lyrical to all that will listen.. overheard two guys coming out saying it was okay. I nearly went up and asked if they watched what I did.

excellent dialogue, looked lovely, didn't overuse the slo-mo. I just wanted more of it, it was very short.

Going to go again during the week. like everyone else I'm praying for a sequel..

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I've just watched The Raid for the first time. Other than being set in a tower block, it feels like a totally different film to Dredd. Plus, maybe because of the order I've seen them in, I think I prefer Dredd. That probably makes me a blasphemer or something.

There is no wrong answer to which out of the two is the better film. Depends whether you like watching people get stabbed up or shot in the face on any particular day.

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Yeah, they just nailed it. The tone, the pace, the humour, the violence- it all hits the mark.

I'm one of those people who absolutely hate the Stallone version. I like Stallone a lot, if you forced me to watch Tango & Cash on a repeat loop for a week I'd probably thank you for the opportunity, but aside from all the obvious stuff to hate in Dredd- Schneider, the catchphrases, Dredd getting sexy with Hershey etc- I never liked the feel of the film, even the minor characters in the Block War stuff at the start were shit. Yeah, Mega City One looked nice from a distance, but that's about it. I mean, even Stallone thinks it's shit and disgrace to the comic.

I can still remember sitting in the cinema, watching that opening montage of Dredd covers and actually feeling pretty pumped for it all, and then that odd confused feeling when you're starting to suspect what you're watching is shit but you're still clinging onto the hope that maybe you're just mistaken and the film still hasn't settled in, followed by that slump where you realise, yeah, it's a turd. Also known as The Phantom Menace Slide.

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Word is it has dropped to fifth in the UK box office.

It's true - The Sweeney :facepalm:

1 The Sweeney (eOne) £1,545,294 £1,545,294

2 ParaNorman (Universal) £1,393,123 £1,393,123

3 Anna Karenina (Universal) £813,395 £2,731,426

4 Lawless (Momentum) £790,378 £2,575,336

5 Dredd (Entertainment) £769,381 £2,725,180

6 Hope Springs (Momentum) £728,689 £728,689

7 Brave (Walt Disney) £584,321 £20,138,592

8 Total Recall (Sony) £472,232 £4,981,000

9 The Possession (Lionsgate) £346,642 £2,856,003

10 Ted (Universal) £317,035 £29,847,210

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It's true - The Sweeney :facepalm:

1 The Sweeney (eOne) £1,545,294 £1,545,294

2 ParaNorman (Universal) £1,393,123 £1,393,123

3 Anna Karenina (Universal) £813,395 £2,731,426

4 Lawless (Momentum) £790,378 £2,575,336

5 Dredd (Entertainment) £769,381 £2,725,180

6 Hope Springs (Momentum) £728,689 £728,689

7 Brave (Walt Disney) £584,321 £20,138,592

8 Total Recall (Sony) £472,232 £4,981,000

9 The Possession (Lionsgate) £346,642 £2,856,003

10 Ted (Universal) £317,035 £29,847,210

Assuming this can crack the £3 million mark in the U.K, is that considered a success or failure?

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It's a much cheaper film, and Garland is on record as saying it'd need to clear $50M before they could consider a sequel.

EX2 has a much bigger appeal across the globe. Everyone knows who Stallone, Willis etc are, pretty much all over the planet, but Dredd is different. While he is known, it's nowhere near to the same degree.

It's an 18 cert here, so that immediately restricts a huge amount of the potential market. I think if it can clear £5M in the UK, that'd be a good thing. But it really needs to perform well overseas to make the serious money. It was never going to make $20M in the UK, there just isn't the market for it, at least not over 18. I'm really interested to see how it does in America, and place like Russia and China, which have really helped a number of movies in the last year.

A plus point seems to be that many reviews in North America are getting the film. While they're not hailing it as the second coming, they are impressed with it. Hopefully that'll get more people interested in seeing it who may not have been previously. Busy weekend in the US, one of the busiest for a while - Four wide new releases, along with The Master expanding in 1500 locations.

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It really reminded me of seventies dystopian SF, and in fact that’s one of the things I liked most about the film – the mix of ideas and aesthetics from different eras. You had the world-gone-fucked nihilism of seventies SF (which spawned 2000AD), you had the black humour and casual violence of eighties action films, and you had the lurid stylisation and bold colours of the nineties.

Sold.

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I hope they run with this style for any sequels – I wouldn’t want them to go full wacky, and introduce Boing and Otto Sump and camp robots into future films. This is a post-2000AD Dredd, in both senses.

It's a great starting point, as you say it grounds the film. As long as there are logical reasons for any change Mega City undergoes, isn't it possible they could go full-on wacky by, say, the end of the third film? I haven't read the comics, but as I understand it they have a satirical and absurdist slant. While the near-future grittiness was very successful, they can't really explore the same themes in such a setting.

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