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I've thought some more about Dredd 3D. I still think it was a very poor film (it was just about visuals and foul language) but would also say that the script/screenplay was so stripped down and basic, it was dreamed up in about a minute and a half and scrawled on the back of a cigarette packet, in old fashioned parlance. In contemporary vernacular, it was like a script that was 'tweeted' in!
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I'm guessing you hate early John Carpenter films too?
I think your dislike of this film is clouding your judgement.
It's no more 'stripped down' than films like ASSAULT ON PRECINCT 13, HALLOWE'EN, ESCAPE FROM NEW YORK or THE MAGNIFICENT 7.
Why, even something like ALIEN would fit onto 'the back of a cigarette pack'.
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I'm guessing you hate early John Carpenter films too?
I think your dislike of this film is clouding your judgement.
It's no more 'stripped down' than films like ASSAULT ON PRECINCT 13, HALLOWE'EN, ESCAPE FROM NEW YORK or THE MAGNIFICENT 7.
Why, even something like ALIEN would fit onto 'the back of a cigarette pack'.
I do not like many Carpenter films - but not seen that many out of choice.
I have seen Assault On Precinct 13 but it was handled in a more successful way, ditto Escape From New York. Have no desire to see Hallowe'en or anything like it. Magnificent 7 again works with the handling of the whole package. I dislike Alien!
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My point was, many films have stripped down or barebones plots.
Highlighting such a thing because you didn't like the film seems a bit silly.
You like the Mag 7 film, another simple plot. Was that one 'tweeted'?
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My point was, many films have stripped down or barebones plots.
Highlighting such a thing because you didn't like the film seems a bit silly.
You like the Mag 7 film, another simple plot. Was that one 'tweeted'?
I didn't say I like it, just that it worked! Plus it wasn't tweeted, they didn't have that then - maybe telegraphed!
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Telegraphed indeed!
Or maybe stolen from a cinema in Japan, circa 1954 
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Telegraphed indeed!
Or maybe stolen from a cinema in Japan, circa 1954
Good one!
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Posted: |
Apr 3, 2013 - 4:26 PM
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By: |
Scott H.
(Member)
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Resurrecting an old thread...
Here is the Dredd 3D tracklist in film order:
2, 17, 4, 15, 3, 6, 13, 7, 9, 5, 10, 8, 12, 11, 19, 4 (repeated), 18, 21, 14, 1
Some cues and other bits/mixes present in the film score did not make it to the cd while 16, 20, and 22 are not used at all.
If you want to make a film order playlist of all tracks I suggest:
2, 17, 4, 15, 3, 6, 13, 7, 9, 5, 10, 8, 12, 11, 19, 16 (unused), 20 (unused), 18, 21, 14, 1, 22 (unused)
And for those of you who love DROKK, there is a special edition cd. It is the same as the regular edition but comes with a key card for downloading several short bonus tracks (about 11min worth of more music).
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Resurrecting an old thread...
Here is the Dredd 3D tracklist in film order:
2, 17, 4, 15, 3, 6, 13, 7, 9, 5, 10, 8, 12, 11, 19, 4 (repeated), 18, 21, 14, 1
Some cues and other bits/mixes present in the film score did not make it to the cd while 16, 20, and 22 are not used at all.
If you want to make a film order playlist of all tracks I suggest:
2, 17, 4, 15, 3, 6, 13, 7, 9, 5, 10, 8, 12, 11, 19, 16 (unused), 20 (unused), 18, 21, 14, 1, 22 (unused)
And for those of you who love DROKK, there is a special edition cd. It is the same as the regular edition but comes with a key card for downloading several short bonus tracks (about 11min worth of more music).
Thanks for the film sequence info!
What is DROKK?
***Edit: never mind, read it earlier in the thread.
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I saw this film last night and I really enjoyed it. I was an avid reader and collector of Dredd comics in the 80s and also have some graphic novels too. I thought they made smart choices as far as adapting this character to the big screen. I re watched the Stallone version and while I love Silvestri's score, the movie has aged poorly. The humour is juvenile and the writing in general pedestrian. Yes, the 1995 film is closer in design to Dredd from the comics and includes some characters like Mean machine but the tone is really cheesy. There was never a point in Dredd 3d where I thought it was goofy or cheesy. There were some black humour moments like when Dredd stalls another judge long enough for him to get shot in the back by Anderson and then answers the question "why would you say wait" with the sly retort "so she can shoot you".
The film was very violent but I think it was necessary in conveying the grimey atmosphere of the world of Dredd. I thought the lawgiver exploding sequence was classic and so well orchestrated. It wasn't an arbitrary inclusion at the beginning of the film like in the 1995 one but actually was a pivotal part towards the end of the film. It was infinitely more satisfying to see a scumbag who we'd seen author atrocious acts throughout the film get his arm blown off. Writing and direction were infinitely better.
Good flick.
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Posted: |
Apr 9, 2013 - 11:36 AM
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By: |
DeputyRiley
(Member)
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My recent review of Dredd on the Non-Film Score Discussion side and comments on the score...
Dredd (2012) -- 8.5/10
Intense, stylish, a visual marvel, relentless...this was a fun action film. Reminded me of RoboCop 2 at times -- the masked supercop, the graphic violence, the decaying future civilization (both geographically and morally), the new drug scourge to hit the streets (nuke vs. slo-mo).
The effects of the drug slo-mo were breathtaking experiences of color, light, and wonder. Olivia Thirlby is kickass and even though she wears stocky Judge armor she still exudes sexiness as she comes into her own as a rookie. Lena Headey was ok as the vile bitch Ma-Ma, but I've never been a huge fan of hers. Karl Urban pulled off a feat of a performance with his only visible features the area between nostrils and neck...couldn't have been done with just anybody, but he was a great Dredd. Paul Leonard-Morgan's score was perfect for this film -- acoustics and orchestra just would not have worked, and his relentless driving beats and rhythms propelled the film nicely and played a big part in making the film play like a rollercoaster.
Gotta say the gore did put me off a bit...just way too over the top for my tastes. The amount of graphic violence could have been cut in half and it still would have been a ultraviolent flick. Don't know why gore bothers me with some films and not with others -- it actually is right at home in this gritty, brutal, unforgiving future of a movie and compliments the surroundings and characters, and yet I still kind of grimaced from time to time. I kind of got the same feeling as I did when watching Watchmen's violence, although the gratuitous gore in that film was much more vile and I hated that movie. I'm a walking, talking contradiction however, because I thought Ma-Ma's moment of death was a rare instance of a visually poetic sort of violence. Hard to explain, but if you see it you'll know what I mean...it was an ingeniously photographed death scene, one of the best ever.
A small complaint, though, as Dredd was tight and furious in the best way. It actually reminded me more of an 80's old-school action film more than stuff like The Expendables or whatever.
Am infatuated with the score! Love it very much and am seeking out Drokk as well as recently listening to Paul Leonard-Morgan's score for the Bradley Cooper film Limitless. That score was also very impressive but nowhere near as wonderful as Dredd. Hope Leonard-Morgan gets more assignments, and I really hope there is a Dredd 2 and he scores it!
My favorite cues include "Bad Judges," "Cornered," "She's a Pass," "Lockdown." I love the cue "Judgment Time" but it does include the one single awful moment of the score that I hate -- during the second half that ridiculously loud and shrill distorted high-pitched feedback noise. Not only is it supremely unpleasant in the cue, it seemed very distracting and ill-placed while watching the film, too.
The music for Ma-Ma's Slo-mo trip in "It's All a Deep End" is wonderfully evocative and atmospheric with the spacey synth vocals.
Have been listening to this score daily (am going jogging to it in a few minutes!) and have watched parts of the film (if not the entire film) almost every night this week. Gets better and better!
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I watched this again last night. I think your review is pretty spot on though the violence doesn't bother me as much with this film. I think the film had to impart the chaos and grittiness of the world of Dredd lest he come off more as a villain than an anti hero.
I initially thought a hybrid score would have worked by fusing orchestra with electronics a la Matrix but it does fine without them really. I agree that the score fits perfectly with the movie.
Urban does a marvelous job. But he also had a smart script to work with too. I liked that the filmmakers didn't feel the need to throw in some cheesy humor in an effort to downplay the violence. Some great moments of black humor were appreciated though.
Judge (to Dredd): "Wait? Why would you say that? As if that will change my mind [to kill you]"..
BOOM
Dredd: "So she [Anderson] can shoot you."
Classic. I would have gone nuts for this even more if it were released back in 1995 since I was a more ardent comic book fan. Some people complained that it's not as true to the comic book but I personally thought all of the modifications were functional changes (ie Lawmaster, Lawgiver and uniform). They don't bother me. Looking back at the Stallone version it seems terribly silly and not at all realistic. I found DREDD to be a more realistic adaptation of the comic book.
As far as comic book films of 2012, this one ranks at the top for me. I didn't mind Dark Knight Rises but some of it seems too self important rather than pulp fiction. Dredd has no pretenses. Even though it didn't do too well in theatres, the DVD home release is generating a lot of buzz.
Oh I also rented Raid Redemption and while I liked it, I thought its narrative was better handled in Dredd.
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Posted: |
Apr 9, 2013 - 12:57 PM
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By: |
DeputyRiley
(Member)
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David Coscina, good points regarding the violence and the humor. The severe gore doled out by the Ma-Ma Clan did allow Dredd and Anderson to dispatch the thugs with more swift, nonstop violence, in a way, and still come out heroes.
Regarding the thinly drawn characters and simple story, normally that would be a detraction I agree Michael24, but oddly I liked that that stuff was barely existent in this film. It was like just plopping yourself right into the middle of this comic book universe without warning; right in the middle of this particular story, right in the middle of this meticulously imagined world without exposition, origins, lengthy dialogue setups and exchanges, etc. to weigh things down. Discarding those features the film was able to stay so nimble and light on its feet. In the absense of exposition or further sketched characters, the movie was able to move at the quick 90-minute roller-coaster pace.
Again, normally I prefer sharp characterization and narrative nuance or complexity, but like with an orchestral score, it just would not have worked for this film. I did feel there was just the right amount of characterization and story to keep the story and momentum going and to get you to like and care for some characters while despising others.
Moreover, I am growing tired of these epic 160-minute superhero/comic movies like Watchmen, Avengers, Dark Knight, etc. I like some of those films very much and enjoy the narrative complexity and characterization, but I am so happy that a film like Dredd came along in the face of all those others with its hard-R, its quick runtime, its unapologetic demeanor, and its refusal to cater to the trends of origin stories and epic canvas. It's kind of like the punk rock rebel of the comic/superhero movies. It took its hit, indeed, and made little money at cinemas, but I'm not surprised it has found its passionate fanbase and niche on DVD/BluRay.
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There's more there than meets the eye. First, the editing is super tight and it's all very digestible. It's not like most action films where the director does hand held shaky camera on TOP of editing every 8 frames along with close shots. I cannot digest a lot of action fare these days because my brain cannot process all the quick imagery. I'm sure I'm not alone. Even Nolan's DK series suffers from sloppy editing in its action sequences (covering up the actors' lack of real self defense skills). The sequence where Anderson dispatches two thugs using hand to hand techniques was deftly done. And it was all done in a manner that could be understood by the viewer.
EDIT- as far as fight choreography is concerned, the Hong Kong films or even something like Raid Redemption still mop up the floor with Hollywood equivalents. Stallone's Expandables series showcases a long list of crappily edited fight scenes even though they use Jet Li who does know how to fight. Sigh.
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David Coscina...I'm absolutely with you re: hand-held, shaky cam, quick blur edits...not for me. I appreciate the way action is handled in a film like Dredd. Similarly, I appreciated Doug Liman's streamlined, slick, stylish but coherent direction of Bourne Identity vs. Paul Greengrass' "put the audience in the fight", jittery, more loose interpretations of fight scenes (or any scene, really) in the Bourne sequels.
Michael24...you're right, and sprawling was exactly the word I was looking for that Dredd purposely avoided. I agree that films like Dark Knight, its sequel, even The Avengers had way too much fat and didn't necessarily need such a long runtime to execute its story. It's understandable, and I appreciate the filmmakers' attempts to create such an evolutionary character and story arc with multiple interconnected stories and exhanges. In a way I like them telling the story how they want to, even if it is a very long movie, trying to do justice to the story and characters, but sometimes these films just do not know when to stop.
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