Film making is a curious process. For every Orson Welles, there is an Uwe Boll and for every Roger Corman there is a Steven Ross. The point is, you have to be true to yourself while at the same time giving the public what they want. Do it right, you’re a legend. Do it wrong or take too long in editing and you’re a fucking hack. Dredd has a very dim view of the whole creative process as we are about to discover…
DATELINE:
August 2102 (Sci Fi Special 1980).
WHO’S RESPONSIBLE?:
Alan Grant knocks together a strip with more holes than content while Steve Dillon cuts his teeth on Dredd.
WHAT’S IT ALL ABOUT (IN ONE SENTENCE)?:
A number of Fergite statues go on the rampage.
WHO’S THAT IN THE HELMET?:
Judge Kray is all for breaking a few heads.
ANY LAW LORE?:
The Control Act of 89 allows registered religions freedom of worship.
A lifeline can be dropped from H-wagons.
IT’S CULTURAL, INNIT?:
Cecil B DeMille was a legendary director renowned for flamboyance and showmanship in his movies.
CANON FODDER?:
The name Fergie is used instead of Fergee.
WHAT THE DROKK?:
The statue of Fergee at Aftermath Square (as well as 19 others) has been replaced by a giant robot. How did that happen? Wouldn’t somebody have noticed these huge statues being dismantled and robots being sat in their place?
Dredd burns the film with a lighter. Why would a Judge carry a lighter?
WHAT’S THE ART LIKE?:
Some lovely debut Dredd art from Dillon that has flashes of brilliance about it.
HOW MANY LINKS?:
The story has a few too many holes to escape a below par rating and some of the dialogue “Holy cow!” seems dated. I did like the “Jumpin’ Judge Boots!” though. A grudging three links for this one, mainly for the art.
Everything Comes Back To 2000AD 