Dredd Movie Hindi Free Download
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Dredd Movie Hindi Free Download
a5c7b9f00b In the future, the overpopulated and chaotic Mega City One with 800 million inhabitants occupies the former territory between Boston and Washington and is surrounded by desert. Justice is brought by the judges, who have the power to judge and execute the sentence against those who break the law. The incorruptible Judge Dredd is summoned by the Chief Judge to evaluate the rookie Anderson, who has failed the test for judge but is a mutant with psychic abilities. They witness a murder and chase the killer in a 200-floor building. However the laboratory of slo-mo of the drug lord Ma-Ma is located in the 200th floor and she seals the building, trapping the two judges inside. Then she orders her clan to kill Dredd and Anderson in the beginning of a gore manhunt.
In a violent, futuristic city where the police have the authority to act as judge, jury and executioner, a cop teams with a trainee to take down a gang that deals the reality-altering drug, SLO-MO.
Dredd is a modern day action movie DONE RIGHT. <br/><br/>The characters develop, the plot is intriguing, the concept and the world come to life beautifully, and most important of all: quality (the execution of the entire affair) is emphasized over quantity (the run time). This film is short and sweet.<br/><br/>THE GOOD<br/><br/>The acting is great. The dude playing Dredd is a perfect Dredd: he's rough and efficient. The woman who plays his partner does a great job at conveying a newbie who's able to learn quickly in order to survive. Lena Headey also plays an awesome villain. <br/><br/>The script is great. I never read the comics, but from what people tell me about them, the movie has captured the spirit of the comics (although it did miss some stuff, which I will go on about later).<br/><br/>The use of special effects is notable. The slow motion effects (when the enemy characters are doing a drug that slows down time) is beautiful and actually makes sense. There's a scene where an enemy guns down a huge amount of living areas with a heavy duty machine gun, which makes a crap-load of explosions occur. While you might be shaking your head going "how the heck did they survive that?" , the movie is good enough to let that one slide. This movie has some kick-a$$ action set-pieces, and they work because you care about the characters involved in them.<br/><br/>THE BAD<br/><br/>The movie, apparently, missed some opportunities to raise some cool moral questions that the comics, apparently, did. While I'm no expert, I do know that some more moral dilemmas would have benefited the movie if done correctly. Either way, Dredd at least dipped it's toes into moral ambiguity, which is more than what most action movies can say.<br/><br/>There's also some moments where you're gonna be like "How the heck did they survive that?" but you'll ultimately like the heroes enough to let that one slide. A healthy dosage of "disbelief suspension" can never hurt, either.<br/><br/>VERDICT:<br/><br/>This movie is what the generic action movie SHOULD BE. It's short, and it's perfect in what it set out to do. It's a very enjoyable movie, and I recommend it to anyone looking for a well-executed action movie with likable characters. On the other hand, it isn't anything groundbreaking or spectacular, in the sense that it hasn't broke any boundaries in film. It's just a very good movie, and that's why it gets an<br/><br/>8.5 / 10
Judgement is passed! Dredd makes the grade.<br/><br/>Dredd acts as the perfect introduction to the character for those uninitiated in his rich and illustrious 35 year plus heritage, while throwing in enough clever references to readers of the comic 2000ad and Judge Dredd to satisfy long term fans. The filmmakers had their work cut out to produce an exciting and faithful adaptation of the classic comic book character-there was that other film to contend with and the huge weight of expectation from fans in the 17 years since that films release. So it is a testament that by Grud Alex Garland, Pete Travis et al have pulled it off and in such fine style!<br/><br/>The first thing you appreciate upon viewing Dredd, is just how well the world is realised. Mega-City One feels like a real breathing place, not too dissimilar to one of our own cities, but just exaggerated enough to befit its Sci-Fi trappings.<br/><br/>The next is the stylistic choices that Director Pete Travis and Oscar winning director of photography Anthony Dodd Mantle have taken and this, coupled by a suitably sparse and effective script from Alex Garland, is where the film really comes alive.<br/><br/>The film appears to be from a bygone era of film making, having a saturated look that brings to mind some of those classic thrillers from the 70's like The French Connection and dystopian Sci-Fi like Mad Max II and Escape From New York and is a world away from the anodyne and glossy Sci-Fi pictures of recent years- it's an amazing achievement on a film with such a comparatively low budget.<br/><br/>Dredd's original look is one of its main strengths; the other is a punchy script from Alex Garland and the uniformly excellent performances from the cast. There's no redundant exposition in this film, after a brief voice over describing the creation of the crime ridden Metropolis of Mega-city one, we're straight into the action. Also there are no lengthy monologues with Dredd, he is direct and to the point, like a futuristic Harry Callahan (long term readers of Judge Dredd will get the reference). And he is a character were action speaks far louder than words as he gets on with the business of law enforcement. To this end Dredd is very much in the tradition of the anti-hero, a type of character sadly long since absent from our screens, but thankfully with this film making a resurgence.<br/><br/>Thrown into the mix is Rookie Cadet Cassandra Anderson a mutant with telepathic powers caused by radiation after an apocalyptic nuclear war resulted in the walled city and the scarred cursed earth beyond it. So the set up is there for Dredd to put the cadet through her paces with a view to full judge status, giving her the power of judge, jury and executioner over criminals.<br/><br/>Here also the performances are near faultless. Karl Urban, as Dredd, does brooding and intense like few other actors since Clint Eastwood-you can almost feel his eye's searing through the faceless helmet he wears throughout the movie and Olivia Thirlby, as Cadet Anderson, gives a committed performances and is the heart and soul of the film, where rightfully Dredd appears to have none, and acts as the eyes of the audience as we experience the oppressive and frightening insanity of the city and the Peach Trees block, where the majority of the plot takes place.<br/><br/>Also the chemistry and interplay between Urban and Thirlby is a major strength of the film, with an abundance of subtext existing between the two characters as they try and read each other-in Anderson's case, probably telepathically. Lena Headey also does Sterling work and adds a layer of depth to the usually underdeveloped stock villain role from most action films of the like.<br/><br/>In fact this aspect is another echo to those great pictures from the past, where the plot was character driven and not over reliant on special effects but good writing. A special mention must also go to the brilliant score by Paul Leonard-Morgan which lends the film an added layer of timelessness, as it evokes the early electronic scores of John Carpenter and even at times, Dirty Harry composer Lalo Shifrin.<br/><br/>With the film getting so many things right, it feels churlish to find fault. But if there are flaws they would be that the plot is fairly slight and there is just a little too much running around anonymous corridors in the latter part of the film. Yet neither of these factors detracts from the overall quality and enjoyment of the film and hopefully any sequel will be more expansive in scale.<br/><br/>In conclusion, I can confidently state, that with Dredd we have a Sci-fi action movie, as well as a supremely adult and successful comic book adaptation that Stimulates the adrenal glands as well as the intellect.
Grim, gritty and ultra-violent, Dredd reinstates the somber brutality missing from the U.K. comicbook icon's previous screen outing.
In the walled city of Mega City One in a post apocalyptic future America where crime is out of control. Judge Dredd (<a href="/name/nm0881631/">Karl Urban</a>), a tough cop who is a member of an elite police force called the Judges, is assigned to supervise the 24-hour training of incompetent rookie Cassandra Anderson (<a href="/name/nm1880888/">Olivia Thirlby</a>) who happens to be a mutant with telepathic abilities. Dredd and Anderson go to the apartment building "Peace Trees" to investigate an incident, but the building is soon sealed off and taken over by the evil and psychotic Ma-Ma (<a href="/name/nm0372176/">Lena Headey</a>), leader of a clan that is manufacturing a narcotic called "Slo-Mo". Ma-Ma declares that she won't allow anyone to leave until both Dredd and Anderson are eliminated. With communications cut off and no help from other Judges, Dredd and Anderson are forced to take on the Ma-Ma clan themselves and the Peach Trees apartment building soon turns into a war zone as Dredd is determined not to let anything stand in his way and to bring Ma-Ma to justice. No. This is an original film based on the Judge Dredd character from the British comic 2000 AD and is unrelated to <a href="/title/tt0113492/">Judge Dredd (1995)</a> (1995), which is adapted from the same source. In the 36 years that Judge Dredd has been appearing in comics, his face has never been shown fully. Most fans agree that never showing Dredd's face helps to make Dredd a personification of justice; he's not just a citizen with a normal face, he's the law, and the helmet is the only face he needs. The faces of Dredd and his clone Rico are shown as young boys in the story The Return of Rico (Case Files vol 1), and the face of their clone Father, Fargo (to whom they should be identical), is shown in Dredd Angel (Case Files vol 8). In parts of The Dead Man/Necropolis (Case Files 14) Dredd's face is shown in full but is obscured by horrific injuries. The Lawgiver from the 2012 film is voice-controlled and its grip has a DNA reader that causes the gun to explode if anyone but the owner attempts to use it. It fires the following types of rounds: (1) Full Metal Jacket, (2) Incendiary, (3) Hotshot, (4) Armor-piercing, (5) Stun, (6) Hi-Ex (High Explosive). In the comics, the Lawgiver has a dial allowing different types of ammunition to be selected and a palm-print scanner in the grip that causes the gun to self-destruct if anyone but the owner tries to use it. It fires 6 types of ammunition: (1) Standard, (2) Ricochet, (3) Heat-seeker, (4) Hi-Ex, (5) Incendiary, (6) Armor-piercing. Later stories have added various extra bullet types, including a stun gun feature, tear gas rounds, "Exorcist Bullets" designed for supernatural foes, and electronic tracker rounds. Before throwing her through the window, Dredd states that he doubts the range of the transmitter would be greater than the distance between the receiver attached to the explosives and the ground floor. His theory is proven correct when she hits the ground and the LED on her wrist goes from green to red, but the bombs are not activated.Open to interpretation. One is that Anderson hands Dredd her badge and walks off convinced she's failed her assessment but Dredd has actually passed her. The implication is that, whilst Dredd is convinced that Anderson has what it takes to be a judge, he leaves it to her to decide if she wants to be. The last scene shows Anderson carrying a helmet and a new gun walking towards the bikes, suggesting she has learned of Dredd's evaluation and decided to become a Judge. Another interpretation is that Anderson chooses not to become a judge, as she hints at beforehand when she frees the hacker. Anderson hands Dredd her badge indicating her resignation and Dredd says, "She's a pass", using the meaning that she passes on the opportunity to become a Judge. She is seen walking away from the scene, and Dredd returns to the Hall of Justice on his motorcycle alone. Yes. Most of the movie is shot in 3D, using RED MX, SI2K, and Phantom Flex highspeed digital cameras, however it also contains some elements that were converted to 3D in post production. The song used in the original theatrical trailer for Dredd is the Skream remix of La Roux's "In For the Kill". The song playing during Dredd and Anderson's raid on the slo-mo den is "Poison Lips" by Vitalic. When the Clan's Techie, played by Domhnall Gleeson, is observing the monitors the song playing is Matt Berry's "Snuffbox" from the TV series of the same name. All other music heard in the film itself is the work of the film's composer, Paul Leonard-Morgan—whose original soundtrack album can be found on iTunes or Amazon. Anyone wanting to know more about the history and psychology of Dredd should seek out Brothers of the Blood and the collected epic Tour of Duty (collected in two books, subtitled The Backlash and Megacity Justice); which both centre much more on the character of Dredd himself and his relationship with the city and his job. Both books give new readers the background necessary to get the most out of Origins—by Dredd's creators, Wagner and Ezquerra—which explores the events that shaped the creation of the city, the justice system, and Dredd himself. Readers seeking Dredd stories that reflect the gritty tone and themes of the film, should seek out The Pit or Total War, the latter of which is a spiritual successor to and continues many of the themes explored in the classic Dredd story America. Tour of Duty covers similar territory to the inter-judicial conflict and mutant prejudice of the film (Anderson is a mutant), and Mandroid depicts Megacity One as the kind of place that crushes the humanity of its citizens in the same manner as the film. Anyone interested in the character of Anderson, featured in the film, can get some background in the series of reprints called The Psi Files. The Apocalypse War (found in The Complete Case Files vol 5) is probably the best of Dredd's epic adventures, and is written and drawn by Dredd's co-creators, John Wagner and Carlos Ezquerra, as is the superb Judge Death epic Necropolis (Case Files vol 14). The Dredd tale which most readers agree represents the best combination of story and art in the strip's history—and which offers a much darker, more sophisticated view of Dredd, Megacity One and the Justice System—is America, by John Wagner and Colin MacNeil; a story whose focus is on the lives of ordinary citizens under the totalitarian rule of the judges, and in which Dredd essentially plays the part of the villain. Dredd first appeared in the second issue (or "prog" as they are known) of the weekly British comic 2000 AD published on 5 March 1977. Judge Dredd's weekly adventures are collected in a series of volumes known as The Complete Case Files (currently 23 volumes). Although there's lots to recommend in Dredd's early output, including classic stories such as The Cursed Earth and The Day The Law Died in volume 2, these early volumes are a sometimes less than ideal place to start reading because of their uneven narrative tone and art style. The Complete Case Files 3 through 5 are, by common consent, the point at which the strip overcame its growing pains and turned into something really interesting—and they make an ideal jumping on point for new readers. The characters of most interest to new or casual readers seem to be Judge Death and the Dark Judges, whose first appearances are drawn by Brian Bolland and can be found in The Complete Case Files volumes 3 and 5, and in the utterly superb full-colour epic Necropolis, which is reprinted in Case Files vol 14 and is written and drawn by Dredd's co-creators, John Wagner and Carlos Ezquerra. They also appear in volume one of Judge Anderson's Psi Files, in a story which serves as a bridge between their appearance in volumes 5 and 14 of The Complete Case Files. The origins of Judge Death are explored in volumes called Death Lives and The Life and Death of Judge Death. The rights holders, DNA films, are no longer actively pursuing the idea of a sequel. In an interview dated 17th December 2014, producer and screenwriter Alex Garland told Sci-fi Now magazine:<br/><br/>[Dredd] manifestly didn't work as a theatrical release, particularly in America, or in fact anywhere outside of the UK. DVD sales are all very well, but you are still talking to people about them handing over a lot of money for a film that's happened twice and has not worked in their terms either time. The character has too many positives to be abandoned forever, but its going to be someone else at some future point who restarts it, who has another crack. It will be a different group of people, at a different point in time
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