Taika Waititi to direct a new "Judge Dredd" film

After the merciless cop "Judge Dredd " last ensured law and order in 2012, a new film is now on the cards – and none other than Taika Waititi is set to direct.

At his side, according to The Hollywood Reporter, is screenwriter Drew Pearce, who previously worked on "The Fall Guy" and "Mission: Impossible: Rouge Nation". The project is being produced by "Dredd" rights holders Chris and Jason Kingsley.

Waititi and Pearce not only have a long-standing friendship, but also a shared passion for the dark comics created by John Wagner and Carlos Ezquerra in the late 1970s. Dredd is the uncompromising lawman of a dystopian mega-city who acts as judge, jury and executioner all rolled into one – a biting satire on an overblown justice system.

After the rather unsuccessful Stallone adaptation from 1995 and the celebrated but commercially unsuccessful "Dredd" from 2012 with Karl Urban, Waititi's version is now set to stay closer to the original comic. The focus is on black humor, violence and a modern reference to contemporary society. A science fiction blockbuster is planned, which could be the starting signal for a larger "Dredd" universe – with films and series on multiple platforms. Who will take on the iconic role this time is still unknown.

Judge Dredd in the cinema: from 90s blockbuster to dark cult film

The comic character Judge Dredd is one of the most enduring and memorable creations of British pop culture. Since his debut in 1977 in the 2000 AD anthology, the relentless lawman Mega-City Ones has been known for hard-hitting action, biting satire and an unsparing vision of the future. So it's no wonder that Hollywood has tried twice to bring this character to the big screen. But the two films to date – "Judge Dredd" (1995) with Sylvester Stallone and "Dredd" (2012) with Karl Urban – could hardly be more different in terms of tone and reception.

Judge Dredd (1995): Stallone, bombast and a misguided tone

When "Judge Dredd" was released in 1995, Hollywood was in the midst of a phase of comic book adaptations that tended to be colorful and over-the-top. Sylvester Stallone, still one of the biggest action stars in the world at the time, took on the title role. The film relied on a high budget, large sets and lots of special effects. Mega-City One was presented as an overdrawn, almost cartoon-like juggernaut – somewhere between "Blade Runner" and a neon video game.

But the problems lay deeper. Fans of the comics expected a dark satire on militarism and surveillance, but instead got a slick action movie that tried to bring Stallone's star power to the fore. Particularly frowned upon was the decision to show Dredd without his iconic helmet for large parts of the film – a break with the original, in which the character never reveals his face. The humor also seemed out of place and diluted the actually tough atmosphere.

The criticism was accordingly scathing. While the visual effects and production design were praised in part, the indecisive script and the misguided tonality were criticized. Although the film made its money commercially with around 113 million dollars worldwide, it fell short of expectations and is now considered more of a curiosity than a successful adaptation.

Dredd (2012): Dark, brutal and true to the original

Almost two decades later, a reboot was attempted. "Dredd" (2012), produced by DNA Films and Lionsgate, took a completely different path. With a comparatively small budget of around 40 million dollars, director Pete Travis – and above all screenwriter Alex Garland ( "Ex Machina", "Annihilation" ) – opted for an uncompromising realization of the basic tone of the comics.

Karl Urban took on the lead role and made it clear from the outset that his Dredd would not be taking off his helmet. This lent the character an almost mythical, unapproachable aura. The plot was deliberately kept minimalist: Dredd and his young colleague Anderson (Olivia Thirlby) are trapped in a gigantic apartment block controlled by the brutal drug baroness Ma-Ma (Lena Headey). In a mixture of science fiction and claustrophobic action thriller, the two judges fight their way up floor by floor – a concept that is strongly reminiscent of the Indonesian film "The Raid", which was released at almost the same time.

Visually, "Dredd" offered a raw, almost grim aesthetic, supported by impressive slow-motion sequences depicting the consumption of the drug "Slo-Mo". The violence was explicit but stylized – a deliberate break with its soft-spoken 90s predecessor. Critics particularly praised Urban's performance, Garland's stringent script and the uncompromising atmosphere, which did justice to the satire and brutality of the original.

However, despite the positive response, the film flopped at the box office. With box office takings of only around 41 million dollars, the film fell far short of expectations. Many observers blame the weak marketing and the unfavorable theatrical release. It was only in the home theater that "Dredd" developed a loyal fan base and became a cult film. Today, it is often regarded as one of the best comic adaptations of its time – partly because it didn't rely on big stars, but instead focused on the character.

Two approaches, two fates

The two "Dredd" films show how differently the same original can be interpreted – and how crucial tone and authenticity are. While the Stallone version attempted to turn the dark material into a mainstream action film, alienating fans and critics alike, "Dredd" (2012) remained true to its roots but failed due to the realities of the cinema market. Many fans still want a sequel or series featuring Urban as Dredd again. There have been repeated rumors about projects such as "Mega-City One", a planned TV series that never made it past the early development phase.

With the recent announcement that Taika Waititi is planning a new "Dredd" film adaptation, the character could now be given a third chance. Perhaps he will be able to combine the satire, black humor and social relevance of the comics with an accessible science fiction blockbuster – and finally win over both fans and a wider audience.