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Summary: Authorities brutally quarantine a country as it succumbs to fear and chaos when a virus strikes. The literal walling-off works for three decades until the dreaded Reaper virus violently resurfaces in a major city. An elite group of specialists is urgently dispatched into the still-quarantined country to retrieve a cure by any means possible.
With the exception of the great car chase at the end, Marshall's follow-up to "The Descent" is a huge disappointment. Rhona Mitra is awful as an action heroine, her fight scenes are badly edited and the story is just a rehash of over a dozen good movies...trust me you'll notice immediately from which movie Marshall stole.
Ok, I'm gonna be weird here and say I actually liked this movie. Don't get me wrong, I shouldn't - it's bad. It cribs from a dozen better movies, is dissapointing coming from Marshall, and is all around ridiculous and silly. BUT, the movies it rips off actually make it feel more like an homage than a plagiarism, and the mashup of them somehow works. I really liked how half the outcasts went Mad Max and the other half went King Arthur.Not a movie to take seriously, but fuck it, its kinda fun.
[Unrated] - Promising premise about a virus-infected and physically quarantined Scotland, and the survivors going all MadMax and medieval on an incoming small group.
Unfortunately this rushes through with lazy storytelling and a few too many cheap action-scenes inbetween decent splatter and fun; overall this isn't a doomsday to remember.
*Preview*: #12#, exp-3*, popcorn, story, creator Marshall/1, R2.
Imagine Escape from LA performed by the Cirque du "Sol"eil (see what I did there?) featuring a punked out Craig Conway shaking his booty to "Good Thing" by the Fine Young "Cannibals" (see what they did there?). Now picture a renaissance faire complete with a fiberglass castle, Malcolm McDowell, AND a wizened scribe to boot. What is that I hear? The soft whisperings of a 'w'? The tintinnabulations of a 't'? The fleeting flatulence of an 'f'? Yes, I know what that spells. Doomsday.
Look, I like postapokalyptic nonsense as much as the next man, but while I can easily turn my blind eye to the similarities with Escape From New York, the 1980s Trauma-styled punk-cannibals were a bit much to take in. That said, it wasn't until the heroine found herself in a jousting contest, with ACTUAL MEDEVIL KNIGHTS (and an angry Malcolm McDowell), that I finally facepalm'ed so hard that I lost conscience...
Go take a look at the movies this pays homage to and you'll find that they're built on atmosphere and tension, not action scenes. I really do appreciate the gesture but I'd appreciate a real movie more; you can't just build on other movies and expect your movie to be good because of it.
A better B-movie than either Death Proof or Planet Terror, Doomsday is smart and thrilling as it apes from and winks at '80s action standards while ramping up the gore and black humor. Still, watching Craig Conway dance to Fine Young Cannibals' "Good Thing" never fails to make me laugh even though I shouldn't. Fine Young Cannibals; get it? Just as brilliant as Evil Dead 2's use of A Farewell to Arms.
I've never really been keen on Neil Marshall's movies, but Doomsday is probably my least favourite yet. It tries to be brainlessly gory and enjoyable, but for me it never pulled this off. The gore is for the mostpart not really entertaining at all, the action is stupendous and the whole movie is generally quite tasteless. The obvious divide between the cultures of the tribes was interesting for a while but there are loads on inconsistencies and puzzlements over the car chase scenes. Not great.
See this, Mr Tarantino, is how to make a homage that doesn't bore the pants off people. Willfully silly and I like it for that. Extra marks for driving a Bentley through a bus and doing the Michael Bay shot at the same time.