Dispenses with the vérité of The Evictors and Pierce's documentary-style narrative films, but for a lavishly-scored sweeping Fordian western full of breathtaking vista photography, this is still relatively remote, tonally.
Telescopes away from its intimate first third into a finely-paced tiered quest/chase narrative. Effortlessly extracts the romance and tension of legacy Hollywood westerns, nevertheless bent to fit Pierce's singular aesthetic.
That the weakest performer in a strong ensemble (Tye Sheridan as Ellis) is played as audience container/subjective threshold is a problem. That Nichols deliberately and expertly deploys plot contrivance, Hollywood structure and baiting star-turns is a testament to his unique and evolving narrative intelligence. Low-key: realizing just what resolution--or possible lack thereof--certain examinations have been building towards by the end is a thrill that reminds just how elegantly cinema can mix/match plot, ideation and duration. Not quite as strong as Take Shelter, but few films are.
Life is cheap in Mega-City One. Caught in the crossfire between fascist Judges and splatter-punk warlords in an irradiated, metastasizing urban wasteland, what's a poor sucker to do but smoke made-up drugs and listen to the Snuff Box theme?
Dredd 3D is the best mainstream action film since Punisher: War Zone, an impossibly violent, nihilist satire which swaps the black comedy of Robocop for the despair and hopelessness of Blade Runner. Taking the right cues from 2000 A.D.'s rich history,…