a5c7b9f00b A futuristic action thriller where a team of people work to prevent a disaster threatening the future of the human race.
A lethal virus spreads throughout Scotland, infecting millions and killing hundreds of thousands. To contain the threat, acting authorities brutally quarantine the countryit succumbs to fear and chaos. The quarantine is successful. Three decades later, the Reaper virus violently resurfaces in London. An elite group of specialists, including Eden Sinclair, is urgently dispatched into Scotland to retrieve a cure by any means necessary. Shut off from the rest of the world, the unit must battle through a landscape that has become a waking nightmare.
I don't typically like to leave wholly negative reviews but what the crap this movie was all kinds of terrible. The writing was seriously sub-par which dragged the already meh story down a few hundred notches, the acting varied from just okay to awful, and the idea itself was bad.<br/><br/>First it seems like it's going to be an epidemic movie to the tune of 28 Days Later, or maybe the Resident Evil franchise. Whatever the plague is, it's fast and ugly. We fast forward in time somewhat while listening to an overly dramatic and irritating voice-over into a futuristic dystopia. So that's our movie right? <br/><br/>WRONG! Suddenly we dive into a coke-induced Mad Max apocalypse, where people have been cut off for 30 years from all contact with the outside world yet still manage to gather hairstyling supplies so they can gel and dye their enormous mohawks. Did I mention they eat people? Because they mention they eat people, about half a hundred times. We get it, these Road Warrior rejects are cannibals. We didn't need the several minutes of them cooking and eating one of the soldiers to know that. <br/><br/>So these are our antagonists. But wait no! Our headstrong heroine escapes the band of multicolored man-eaters only to find a renaissance fair has established itself in a nearby castle, run by one of the most obviously evil doctors I've ever seen and his scowling henchman. They host a Gladiator style fight with the protagonist and a really bulky armored dude, which of course she wins because she's the protagonist and in the process of escaping one of her fellow soldiers(whom the directing seems to think is her love interest by the way they shoot the scenes) gets pumped full of arrows thanks to this universe's version of the Sheriff of Nottingham or whatever he's supposed to be. So our knock-off Alice avenges him and-oh wait no she doesn't. They just leave. They don't bother to take out the King Arthur wannabe or anything.<br/><br/>Now it's the return of the punk rock people-eaters,they somehow manage to gather together the prop cars that were abandoned Beyond Thunderdome and there's a car chase with far too many explosions and not enough reason why or how they're here.<br/><br/>Finally the REAL VILLAIN is revealed! Oh no the obviously evil guy with the dark sunglasses and government connections who has been dropping hints the whole movie about how he orchestrated the quarantine breech was behind it all? You don't say. But our girl records him with her prosthetic eye-cam(which was the only part of the movie I liked) and thus the day is saved! Our hero can find her mom! Or not, maybe she'll find a decapitated head and get herself elected queen of the cannibals. THE END.<br/><br/>Everything that is good about this movie is cribbed from better movies. There's a fine line between paying homage and ripping things off and Doomsday staggers drunkenly all over the line before sliding over it like it's home plate. Neil Marshall what happened man? I liked Dog Soldiers. The Descent was fine for the first half of the movie. Why is spew out this garbage? Bob Hoskins is wasted in his small roleEden's mentor and Alexander Siddig is even more wasteda character whose sole purpose seems to be to kill himself so a suicide can be carefully shot. Why?<br/><br/>Don't watch this movie. Watch Road Warrior instead. Watch Gladiator instead. Watch anything else but this movie.
After Dog Soldiers (2002) and The Descent (2005), Neil Marshall seemed like the new wunderkind of British horror cinema. His latest, Doomsday, is a markedly different film from his earlier work – most clearly in it's inability to choose which genre it belongs to. Dog Soldiers clearly leaned in the direction of comedy while The Descent was a masterful lesson in claustrophobic horror, marred only slightly by a number of over the top action scenes in its final act. Doomsday has funny moments, horrible moments, thrilling moments and, more often, moments filled with levels of absurdity which would not feel out of place in a full-blown spoof.<br/><br/>The year is 2033. A quarter of a century has passed since the outbreak of a fatal disease in northern Britain. Scotland has been cut off - segregated behind a barrier closely following the lines of Hadrian's wall. But the disease has returned, the south is threatened and a crack military team (led by Rhona Mitra) is sent into the contaminated zone to find survivors, and a cure. Throw in Marshall's proved abilities to create tension and a little offbeat humour and it sounds like the making of a minor classic, right? Well yes and no. The films' greatest strength is also its biggest liability – namely nostalgia.<br/><br/>Some films use nostalgia extremely well. A recent example would be Superman Returns. The slow, majestic sweep of the title sequence served to reintroduce us the universe of Superman (literally and figuratively). John Ottman's marginal reworking of John William's superb score was so evocative that it, in conjunction with the familiar (though now CG enhanced) starscapes created a near instant sense of comfort. Superman Returns is homage, Doomsday is convoluted pastiche.<br/><br/>The film is a literal expression of what happens when you give a director too much freedom. After only 2 features, Neil Marshall's track record was simply not strong enough to be allowed this kind of free reign. The result is a mess; the bastard child of a dozen or so 70's and 80's films – from the Warriors to Mad Max via Escape from New York. It also moves schizophrenically from one genre to the next: near future vistas give way to post-apocalyptic deserted cities (a la 28 Days Later) before moving on to psychedelic dancing cannibals, mobs of bikers and an extended, somewhat unnecessary, car chase. Did I mention there's a medieval sectionwell that comes offa nicely shot mash-up of Robin Hood and Gladiator? As a knowing and self-referential piece of cinematic shlock this would be perfectly enjoyable but the fact is that Doomsday takes itself far too seriously. What humour exists is oftenblatantassuming that a stunning woman like Mitra aping almost Snake Plissken worthy dialogue is entertaining. This works, to a point, but it is missing that vital cue for the audience; how are we supposed to take this? In Dog Soldiers there was a healthy sense of the ridiculous, both on the part of the characters and the audience. Likewise in The Descent, we know from the outset that the film will not be lighthearted. Doomsday refuses to make that choice, veering from an overlong dance sequence which looks like the gag reel from a Prodigy music video to the genuinely shocking roasting of a live human being. The contrast of different styles can work within the structure of a film to make the relief of the comedy or the shock of the horror more powerful but when it vacillates this often and this wildly any such affect is lost.<br/><br/>One major point to remember is that the movies which Doomsday references are themselves a mixed bag. That's the thing with nostalgia, its better felt than examined. The original Superman comes across, to me,strangely elitist these days and Escape from New York is an extremely uneven film. So, in trying to bring these kinds of films together, Marshall has doubly handicapped himself: Firstly, by being limited to sources of varying quality. Secondly, by trying to reference so many other films, the coherence of Doomsday suffers. So much so that each scene begins to resemble a discrete entity, rather than a part of the whole.<br/><br/>Doomsday is, however, a difficult film to truly dislike. There is a kind of manic energy to it, an undercurrent of gleeful nastiness that allows it to bulldoze through the clichés, plot holes and bloated editing. The action is generally well shot and presented and the whole film has a technical polish which we are not used to seeing in British cinema. The acting is generally good and Mitra makes an impressive leading lady, hopefully this will be a breakthrough role for her. As for Neil Marshall, this is without a doubt his weakest film to date and makes one wonder whether he's ready to make the move to big budget film-making (there are rumours he is about to be subsumed into the Hollywood machine). We can only hope he works from a better script with more supervision in the future.<br/><br/>I find it hard to imagine that we will still be talking about Doomsday in twenty years but for all its' faults there is some entertainment to be had. With the right attitude, a DVD turned up loud and a few drinks it might manage to become a minor cult favourite in the future. And, through the quality obscuring mists of nostalgia, maybe that is how a classic is born…
As a guilty pleasure, it’s spectacularly entertaining
Thirty years after Britain successfully walled off Scotland to contain the spread of the Reaper virus, a particularly lethal virus that has infected millions, England is devastated to find that the virus has popped up again in London. Consequently, Major Eden Sinclair (<a href="/name/nm0593961/">Rhona Mitra</a>) of the Department of Domestic Security is asked to lead a team of operatives into the quarantine zone to find medical researcher, Dr. Marcus Kane (<a href="/name/nm0000532/">Malcolm McDowell</a>), who was last known to be working on a cure …that is, if they can survive the survivors who have taken over Scotland. Doomsday is based on a screenplay by British screenwriter Neil Marshall, who also directed the film. Sinclair, Ben Stirling (<a href="/name/nm0604418/">Darren Morfitt</a>), and Cally Kane (<a href="/name/nm1769728/">MyAnna Buring</a>) are intercepted by a gunship carrying the new Prime Minster, Michael Canaris (<a href="/name/nm0641244/">David O'Hara</a>). He asks for the cure, and Sinclair produces Cally, explaining that she is immune to the virus and that they can use her blood to make a vaccine. Canaris informs Sinclair that he has no intention of producing the cure just yet. He would rather withhold it until such timethe virus has killed off the infecteda form of population control. Canaris invites her to come back to London with him, but Sinclair chooses to remain in Scotland and look for her mother at the address written on the note. Sometime later, Nelson uses that address to fly into the quarantine zone and locate Sinclair. She tells him of Canaris' plan and gives him a recording she made with her artificial eye of their conversation, giving Nelson all the proof he needs to bring down Canaris. In the final scene, she returns to Glasgow where she tosses Sol's (<a href="/name/nm0176660/">Craig Conway</a>) head to the punk cannibals, saying, "If you're hungry, try a piece of your friend." Realizing that Sinclair has defeated their leader, they begin cheering herhis replacement. The film gives three possibilities: (1) She stayed to look for her mother, (2) she stayed because she knew the hot zone was free of the virus but that London would soon be raging with it, and (3) she stayed to build an army amongst the punks to protect her should Canaris come looking for her. Crowd parties at Sol's show - "Dog Eat Dog" by Adam and The Ants.<br/><br/>Sol dances onstage with strippers - "Good Thing" by Fine Young Cannibals.<br/><br/>Sol dances onstage with men in kilts - "The Can Can" by Ariel Rechtshaid.<br/><br/>Talbot is brought out to the crowd - "Spellbound" by Siouxsie and the Banshees.<br/><br/>Sol's gang chases Sinclair, Stirling, and Cally on the road - "Two Tribes" by Frankie Goes to Hollywood.<br/><br/>End credits - "Club Foot" by Kasabian. The film's theatrical cut was rated R by the Motion Picture Association of America (MPAA). Later, an unrated version was released on DVD and Blu-ray disc, adding more story to the film.
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