Brief Look at Judge Dredd Novels, Cinematic Interlude: Judge Dredd (1995)
We should, perhaps, begin with the obvious.
The biggest problem here is Sylvester Stallone, in manners both gross and subtle. On the one hand, his performance is... well, it's pure Stallone. It's a mind-gratingly stoic and staid performance, with all the mumbling you've come to expect, and on the most obvious of levels it's simply not very good.
But the deeper problem here, and the one that really sinks the film, is one that fandom generally seems to come very close to correctly diagnosing, if only to ever so slightly miss the mark in the way that only science-fiction fandoms really can.
The problem, as John J. Fandom, MD would have you believe, is that the film chose to show Judge Dredd's face, one of the biggest no-nos of 2000 AD. And they are, at least, partially right, but only in the sense that the prominence of Stallone's face is a symptom of the overwhelming amount of distortion that the actor's mere presence inflicts upon the very cinematic grammar of the film.
Witness the first scene in which Dredd is revealed, and you can practically hear the creaks as the generally satirical and sceptical lens in which 2000 AD cast the Judges at its best moments is wrenched into a far more conventional "action movie" template.
This impression certainly isn't helped any by the eventual arrival of Rob Schneider, who was seemingly one of your go-to guys in the nineties for lame action movie buddy comedies.
(Granted, the only other film I've seen from the decade that fits the bill would be Tsui Hark's 1998 JCVD vehicle Knock Off, a rather terrible film that I only ever bothered to watch because Sparks did the theme song. At any rate, it simply wasn't worth it.)
It's not that the juxtaposition of Judge Dredd against this conventional setting couldn't create a perverse frisson, but it would definitely require a much more incisive and self-aware script than William Wisher, Jr. and Steven de Souza were apparently willing to provide. As is, you're left with... well, a conventional action movie, which is probably in the Top 2 Least Interesting Things You Could Ever Do With Judge Dredd.
The other, as it happens, would be to make it a conventional sci-fi film riffing on Star Wars and Joseph Campbell, and oops they did that one too, complete with a James Earl Jones voiceover that makes a point of having him say lines about "forces." The best encapsulation of the sheer strangeness of this experience is the scene in which Max von Sydow's Fargo reveals to Dredd his nature as a clone. After seemingly never shutting up throughout the whole film, Rob Schneider is practically forced to the periphery of the frame for an Atonement with the Father or whatever.
Rather than being as liberating as one would hope "getting less Rob Schneider" would be, it only reinforces the sense that the film is caught between two - three, if you count the tone and aesthetic of the original 2000 AD comics, but all impressions of the film's behind-the-scenes would seem to suggest that you'd be the only one - competing sensibilities, and ultimately ends up doing neither of them particularly well.
Sure, it looks good, with some wonderful set design and special effects, but the reduction of such an interesting world as Judge Dredd down to superficial and facile pleasures - and I include in this remark the utterly extraneous catfight between Diane Lane's Hershey and a rightfully bored Joan Chen, for the record - can't help but sting a little. The biggest saving grace the film has is that it isn't that long, but at that point we'd best stop scraping the bottom of the barrel before we end up with splinters.
And accordingly, we should end with the obvious: The fact that this made nearly nineteen times as much as the contemporary Tank Girl film is the kind of thing that it's hard not to view as anything but a moral abhorrence.
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A hard-nosed cop reluctantly teams up with a wise-cracking criminal temporarily paroled to him, in order to track down a killer.
Credits: TheMovieDb.
Film Cast:
Jack Cates: Nick Nolte
Reggie Hammond: Eddie Murphy
Elaine: Annette O’Toole
Haden: Frank McRae
Albert Ganz: James Remar
Luther: David Patrick Kelly
Billy Bear: Sonny Landham
Ben Kehoe: Brion James
Rosalie, Hostage Girl: Kerry Sherman
Algren: Jonathan Banks
Vanzant: James Keane
Frizzy, Hotel Desk Clerk: Tara King
Lisa, Blonde Hooker: Greta Blackburn
Casey: Margot Rose
Sally: Denise Crosby
Candy: Olivia Brown
Young Cop: Todd Allen
Thin Cop: Bill Dearth
Big Cop: Ned Dowd
Old Cop: Jim Haynie
Detective: Jack Thibeau
Plainclothes Man: Jon St. Elwood
Ruth: Clare Torao
Policewoman: Sandy Martin
Bob: Matt Landers
Cowboy Bartender: Peter Jason
First Cop: Bill Cross
Second Cop: Chris Mulkey
Parking Lot Attendant: Marcelino Sánchez
Road Gang Guard: Bennie E. Dobbins
Road Gang Guard: Walter Scott
Road Gang Guard: W.T. Zacha
Prison Guard: Loyd Catlett
Prison Guard: B. G. Fisher
Prison Guard: Reid Cruickshanks
Duty Sergeant: R. D. Call
Hooker: Brenda Venus
Hooker: Gloria Gifford
Torchy’s Patron: Nick Dimitri
Torchy’s Patron: John Dennis Johnston
Torchy’s Patron: Rock A. Walker
Gas Station Attendant: Dave Moordigian
Security Guard: J. Wesley Huston
Cop with Gun: Gary Pettinger
Bar Girl: Marquerita Wallace
Bar Girl: Angela Robinson Witherspoon
Bartender: Jack Lightsy
Henry Wong: John Hauk
Interrogator: Bob Yanez
Leroy: Clint Smith
Gang Member: Luis Contreras
Cowgirl Dancer: Suzanne M. Regard
Vroman’s Dancer: Ola Ray
Vroman’s Dancer: Bjaye Turner
Indian Hooker: Begonya Plaza
Film Crew:
Original Music Composer: James Horner
Producer: Lawrence Gordon
Editor: Freeman A. Davies
Production Design: John Vallone
Director of Photography: Ric Waite
Editor: Mark Warner
Writer: Walter Hill
Casting: Judith Holstra
Editor: Billy Weber
Producer: Joel Silver
Sound Editor: John Dunn
Sound Editor: Tim Mangini
Sound Re-Recording Mixer: Donald O. Mitchell
Costume Design: Marilyn Vance
Sound Editor: Teri E. Dorman
Supervising Sound Effects Editor: Richard L. Anderson
Sound Re-Recording Mixer: Rick Kline
Executive Producer: D. Constantine Conte
Sound Re-Recording Mixer: Gregg Landaker
Makeup Artist: Edouard F. Henriques
Makeup Artist: Michael Germain
Supervising Sound Effects Editor: Stephen Hunter Flick
ADR Editor: Mark A. Mangini
Stunt Double: Terry Leonard
Stunts: Nick Dimitri
Writer: Roger Spottiswoode
Writer: Larry Gross
Writer: Steven E. de Souza
Set Decoration: Richard C. Goddard
Hairstylist: Dagmar Loesch
Stunt Double: Vince Deadrick Jr.
Stunts: Tony Brubaker
Special Effects: Joseph P. Mercurio
Stunts: Bruce Paul Barbour
Stunts: Larry Holt
Stunt Double: John Sherrod
Stunts: Jerry Brutsche
Stunts: Billy C. Chandler
Stunt Driver: Conrad E. Palmisano
Stunt Coordinator: Bennie E. Dobbins
Gaffer: Carl Boles
Stunts: Walter Scott
Movie Reviews:
John Chard: You switch from an armed robber to a pimp, you’re all set.
A hard as nails cop reluctantly teams up with a wise-cracking criminal temporarily paroled to him, in order to track down an escaped convict cop killer.
The mismatched buddy buddy formula exploded onto the screen here in a ball of violence, profanity and pin sharp one liners. It also launched Eddie Murphy into 1980s stardom. Directed by Walter Hill and starring Nick Nolte alongside Murphy as part of an electrifying black and white double act, it’s unrelenting in pace and bad attitude. It could have been so different though, with the likes of Stallone, Reynolds, Pryor and Hines attached at various times for lead parts, it now is written in folklore that Murphy got the break and grasped it with both hands (he was actually fired at one point mind!). Thankfully the problems behind the scenes were resolved to give us a classic of its type.
A big success for Paramount it paved the way for more choice same formula pictures in the decade, but few were able to be so course and daring with the racial divide explosions. Murphy is outstanding, quick as an A.K. 47 in vocal d...
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