The thus-far sequel-less Dredd owes a debt of gratitude to the work of John Carpenter.
And here’s why… Until, I would argue, the release ofDredd(directed by Pete Travis in 2012).
In keeping with Carpenters ethos, Im going to stop the introduction right there and cut to the chase.
Narrative Economy
The brilliance ofDreddis that the movie itself resembles its title character.
Exposition is kept to a minimum, characterization is delivered through action, and no scene outstays its welcome.
In an era defined by bloated running times,Dreddcomes in at a spry 95 minutes.
Everything in the movie is about progression, forward momentum.
And when Dredd leaves Peach Trees, theres no hanging about.
The movie just ends.
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Violence
This trimming of the narrative fat extends to the set-pieces.
Since Carpenters peak in the early 80s, the action genre has been defined by excess.
InDredd, when people fight, it is short and brutal.
The editing is not used to intensify the actionaction is allowed to play out within single shots.
The setting of the mega-block itself is a master stroke.
The 2012 iteration makes no such attempts at softening the law enforcer.
Like Carpenters Snake Plissken, Dredd is meant to be a critique of Clint Eastwoods terse, gun-slinging persona.
This is purely intentional since the comic book character was intended as a satirical take on Callahan.
In this respect, he bears a closer resemblance to the murderous Shape fromHalloween.
InDredd, this role is filled by the corrupt Judges on the villains payroll.
However that does not mean it stands alone.
