Directed by Pete Travis
During Preview Night at the 2012 San Diego Comic-Con, Lionsgate kicked things off right for fans by hosting a raucous screening of its upcoming gritty reboot Dredd 3D, which has Karl Urban picking up the iconic comic book character’s mantle from Sylvester Stallone. It manages to successfully wash away the residual effects of the 1995 schlockfest and delivers the film that Judge Dredd fans have been waiting almost 18 years for.
We learn in Dredd 3D that in the future criminals run rampant around the various Mega-Cities across the globe, and in response a new law enforcement unit has been created: the Judges, an elite and brutal group of police who have the authority to act as “judge, jury and executioner” in an effort to reclaim the dangerous streets which have become overrun by dangerous thugs, gangs, drug dealers- you name it.
Over in Mega-City One, our titular character has been long fighting the good fight against the seedy underbelly of his metropolis; at the start of the flick Dredd has been paired up with a rookie trainee named Anderson (Thirlby), whom he’s been instructed to evaluate for the Judges program.
Dredd and Anderson set out to find out what they can about a deadly new drug that has just hit the streets of Mega-City One called Slo-Mo, which causes time for the user to slow down to a sluggish crawl, making 60 seconds feel more like 60 minutes. The drug lord behind Slo-Mo is none other than the ruthless and brutal former prostitute Ma-Ma (Lena Headey), who has taken over a 200-story project called Peach Trees; as it so happens, Dredd and Anderson are called to Peach Trees to investigate Slo-Mo, and sure enough all hell breaks loose once the Judge and his trainee show up to mess up Ma-Ma’s operation.
As a whole, Dredd 3D works infinitely better on all levels than the cheesetastic 90’s version of the story; this time around John Wagner worked with screenwriter Alex Garland, and his involvement is certainly the difference maker here. Travis approaches Dredd’s story straight on with a slight undertone of dry humor running throughout, which feels far more in line with the original comics, and for those who have been wondering- our hero never once takes the iconic helmet off. Not once. And that rules.
Urban, an actor who is no stranger to the world of blockbuster filmmaking after appearing in projects like J.J. Abrams’ Star Trek reboot, The Chronicles of Riddick (two franchises the actor has also returned to this year for their respective upcoming sequels), The Bourne Supremacy and two thirds of the Lord of the Rings trilogy- The Two Towers and The Return of the King; and he appears quite comfortable here taking the lead in Dredd 3D.
Performances from behind a mask are always challenging, especially when the audience can’t even connect with the actor’s eyes, so that is certainly the biggest hurdle Urban faced for this movie- being able to connect with both his co-stars and viewers while hidden behind the obtrusive Judge helmet. But Urban rises to the challenge and really makes the role his own in Dredd 3D. We get a sense of his unflinching dedication to justice, his unwavering desire to make Mega-City One a safer place for its residents and maybe even a sense of Dredd’s world-weariness, without ever once seeing Urban at all. The actor’s body language really sells the performance.
Sure, as a whole Judge Dredd is known for being an ass-kicker, and Urban absolutely delivers on that front in Dredd 3D. But it’s definitely cool that in this adaptation there’s just a bit more to the character than his ability to inflict some brutal and bloody justice to those who deserve it, and that’s due to Urban’s great performance that successfully nails the spirit of the iconic character overall.
In a very testosterone-heavy flick (and rightly so), both Headey and Thirlby knock it out of the park and show that women can kick just as much ass as the guys can in Dredd 3D. Headey, an actress who already has a well-earned reputation as a badass due to her work on shows like “Game of Thrones” and “Terminator: The Sarah Connor Chronicles” and in the film 300, steals the show as the ruthless and savage gang boss Ma-Ma who isn’t above biting someone’s junk off or killing off hundreds upon hundreds of innocent people just to get to what she wants. Headey’s slyly vicious work in the flick makes for a great “big bad” for Dredd to go up against with her fearless performance. Great stuff.
Thirlby, an actress who has mostly stuck to the indie comedy/drama world throughout her career, does a great job, too, as a mutant rookie Judge who has a few tricks up her sleeves for criminals beyond the guns she’s packing. It’s a character that we’ve all seen many times before- the naive rookie with no field experience who second-guesses “the system” when they’re finally put to the test (hell, it’s a device even used in my favorite action flick Point Break)- which starts off a bit flat and unassuming (if only because the chemistry between Anderson and Dredd hadn’t really been established yet); thankfully, though, we see the character of Anderson evolve beyond the stereotypical rookie and become a lethal force herself in the second and third acts of the movie, which allows Thirlby to have a little fun with the character and make it her own by the film’s end and proves she’s more than ready to continue to take on bigger films down the line.
Dredd 3D does suffer from a bloated mid-section as the story begins to lag and wander off-track around the halfway point; we get a few subplots introduced that takes the focus off of Dredd and Ma-Ma which feel a bit needless and forced, but as they resolve themselves going into the final act, the pacing picks back up and the flick manages to finish just as strongly as it kicks off. There are a few-groan inducing lines as well (mostly due to the very comic-esque nature of the character’s dialogue), but they’re completely forgivable considering the amount of bloodshed and inventive kills fans get treated to along the way in Dredd.
Travis, the director behind the largely underwhelming thrillers Vantage Point and Endgame, kicks things up a notch in his career and not only does a great job with the material he’s given to work with in Dredd 3D but also delivers a stylish and stunning flick to boot. When the drug Slo-Mo is in use, Travis’ slows things down for the viewers as well, which makes for some really cool moments that become a feast for the eyes, especially in 3D.
And speaking of 3D, Dredd has a crisp and immersive look to it, mostly due to Travis shooting the flick in 3D and not post-converting the project. It’s not a movie whose success solely lies on the format being used so Dredd shouldn’t disappoint in 2D either for those of you out there who have given up on seeing 3D movies. But with Travis’ use of slow-motion throughout the film, Dredd 3D ends up being a visual feast when experienced in all its three-dimensional glory, and this writer definitely recommends seeing the movie in 3D if you’re willing to pony up a few extra bucks.
As a whole, longtime Judge Dredd fans can now breathe a sigh of relief; someone has finally gotten it right, and Dredd 3D makes for the perfect reintroduction of the iconic character to a new generation of cinema-going audiences. Sure, there are bound to be countless comparisons of Dredd to the recent indie action flick The Raid, but that’s pretty unfair since Travis’ film certainly stands on its own two feet (besides, Assault on Precinct 13 did it first back in 1976).
While not exactly a revolutionary story, it’s Urban’s stellar turn as the no-nonsense law enforcer and Travis’ somber and brutal approach to the world of Judge Dredd that should make for a brutally fun time at the theater for both the longtime fans and the uninitiated as well.
4 out of 5
The Open House Review – Abandon Hope All Ye Who Enter Here
Written by Matt Angel and Suzanne Coote
Directed by Matt Angel and Suzanne Coote
Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.
Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.
To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.
This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].
Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.
If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.
Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.
Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.
Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI
Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis
Written by George Edwards and Barry Schneider
Directed by Curtis Harrington
Distributed by VCI Entertainment
Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.
Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.
The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.
What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.
Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.
This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.
An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.
There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.
The film’s original trailer is included in HD.
Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.
- NEW 2K RESTORATION from the original camera negative
- Original theatrical trailer
- Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
- New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
- Two Interviews with Curtis Harrington by Film Critic David Del Valle
- Photo Gallery
- Optional English SDH subtitles
A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.
The Midnight Man Review – Don’t Hate The Game, Hate The Players
Written by Travis Zariwny
Directed by Travis Zariwny
Travis Zariwny’s The Midnight Man is largely a robotic hide-and-seek slog, yet if dissected in butchered chunks, smaller bites range from delicious destruction to utterly incompetent character work. Judging by the bloodthirsty opening sequence alone, you’d think Zariwny is about to blow our morality-siding minds. A sad misconception, I’m afraid. After our hopes skyrocket, mechanical plot devices are pinned to a storyboard with the utmost lack of exploration. The Midnight Man’s game is afoot, but these players would barely compete against an opponent crafted from brick and mortar. Can someone calculate a handicap for them, please?
Gabrielle Haugh stars as Alex Luster, a caring granddaughter to Nana Anna (Lin Shaye). One night, upon the request of her not-always-there relative, Alex rummages through attic trunks for a silver-backed hand mirror. Instead she finds a nondescript wrapped box with what appears to be a game inside. Her crush Miles (Grayson Gabriel) has arrived by now, and after an incident where Anna requires medical attention from house-call doctor Harding (Robert Englund), the two friends begin playing whatever it was that caused Anna to screech in disapproval. You know, the only rational decision.
At the risk of sounding like a smug CinemaSins video, The Midnight Man would surely bomb any horror IQ test. Zariwny’s *first* piece of introduced information after discovering Midnight Man’s altar is quite simple – DANGER. DO NOT PLAY. IT JUST CAUSED A WOMAN TO FAINT. Nevertheless, our braindead sheeple follow careful rules to summon Mr. Midnight Man into their house – because, as horror movies have proven, tempting occult fates is buckets of fun! At least the characters don’t confess romantic feelings and makeout while another friend who joins the game late – “Creepy Pasta” obsessed Kelly (Emily Haine) – could already be in the Midnight Man’s clutches, that’d be – oh, right. That happens.
Senile Anna is another story altogether – Zariwny’s grey-haired red herring in the worst way. Lin Shaye injects so much destabilized madness into this energetic, midnight-perfect role, elevating herself into a stratosphere well above The Midnight Man itself. Whether she’s screaming about Alex’s disgusting blood, or ominously whispering dreadful remarks through a housewide intercom, or beating Robert Englund to a pulp with wide-eyed psychosis – well, if you’ve seen Dead End, you *know* the kind of batshitery Shaye is capable of. Her genre vet status on display like a damn clinic here.
Shaye – and even Englund – aside, scripting is too procedural to salvage any other performances. Kelly doesn’t even deserve mention given her “bring on death!” attitude and enthusiastic late entry INTO AN URBAN LEGEND’S DEATHTRAP – a poorly conceived “twist” with less structure. This leaves Grayson Gabriel and Haugh herself, two thinly-scripted cutouts who couldn’t find a more repetitive genre path to follow. There’s little mystery to the gonigs on, and neither actor manages to wrangle tension (even when staring our Midnight friend in the face…thing).
Scares are hard to come by because Zariwny opts for a more “charismatic” villain who talks like Scarecrow and appears as a dyed-black, cloaked Jack Skellington. He can form out of clouds and is a stickler for rules (candles lit at all times, 10 seconds to re-ignite, if you fail he exploits your deepest fear). Credit is noted given this villain’s backstory and strict instructions – which does make for a rather killer game of tag – but the need to converse and expose Midnight from shadows subtracts necessary mysticism. He’s a cocky demon with masks for each emotion (think woodland death imp emojis), but never the spine-tingling beast we find ourselves hiding from.
This is all a bummer because gore goes bonkers in the very first scene – with underage victims no less. One young player gets decapitated, another explodes into a red splattery mess (against fresh snowfall), but then a vacuous lull in process takes hold. It’s not until Alex’s fear of blood and Miles’ fear of pain that we get more eye-bulging squeamishness, then again when Kelly’s bunnyman appears. A no-bullshit, bunny-headed creature wearing a suit, which plays directly into Kelly’s deepest fear. When Zariwny gets sick and surreal, he scores – but it’s a disappointing “when.”
I take no pleasure in confirming that any small victory The Midnight Man claims is negated by kids who should’ve been offed for even thinking about a quick playthrough of Anna’s old-school entertainment. Invite him in, pour your salt circles and try to survive until 3:33AM – sounds easy, right? If the demon plays fair, you bet! But why would ANYONE trust a demon’s word? Makes sense given Alex and Miles’ ignorance of more red flags than a Minesweeper game, and a thrilling chase these bad decisions do not make.
The Midnight Man begins by striking a meteoric horror high, only to plummet back down towards repetitive genre bumbling once the game’s true – and less enticing – plot begins.
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