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Día Del Juicio Final (2008)

Originaler Titel: Doomsday
Sieber Mcclarnon

Now this one is what you see when you look up "letdown" in a dictionary. It started out decent, even promising, with a suitably gloomy introduction that, while not exactly what I would call innovative, set the mood very nicely: in the near future, the fatal Reaper virus decimated Scotland and now threatens to makes all human life in the UK a thing of the past. Extreme conditions demand extreme responses, and so the government revives the time-honored British tradition of building humongous barriers across the country. Hadrian's Wall 2.0 is finally finished, the gates are welded shut, the automated sentry guns come online (much to the dismay of the local fauna), what's left of Scotland is sealed off from the rest of the world and everyone is happy. Problem solved, or is it?

Of course, it's not, and three decades later, the virus rears its ugly head again, only this time in London. Understandably troubled, the government assembles an elite team of assorted badasses with security clearances, among them captivating police officer Eden (!) Sinclair and sends them over the wall to meet up with Dr. Kane (!!), who, according to recent satellite reconnaissance, might be alive after all and might even have the cure for the Reaper virus.

This, unfortunately, is the turning point for the movie, which, in an eerie mirroring of the events unfolding on screen, veneers from hey-this-ain't-so-bad highway straight into dark, uncharted I-can't-believe-that-somebody-greenlighted-this territory. Let me explain: the group enters Scotland by means of two wheeled, heavily armored APC's, which, as we are explicitly told, were built to protect its passengers from each and every harm that might lurk on the Other Side (capitalized for dramatic effect).

After running over a cow (those things can be tricky at night), the group exits the vehicles and searches an abandoned hospital for clues, while the operator stays put and watches their progress via helmet-mounted cameras on the APC's impressive array of screens. If that description vaguely reminded you of some other movie, you are absolutely right: the entire scene is lifted straight from "Aliens". The fear that "Doomsday" would merely turn into a bad copy of said movie was unfounded, however, because it quickly becomes apparent that "Doomsday" also aspires to become a bad copy of several other movies, including but not limited to the 28... Later and Mad Max series, Waterworld, Gladiator and Lord of the Rings.

After getting attacked by a gang of mohawked punks straight from the "Escape from New York" set, the slightly shaken group flees into the soothing steel embrace of their nigh-indestructible tank things. Little good it does them, as these marvels of military technology are quickly destroyed by a combination of molotov cocktails, arrows and bricks (I couldn't make this up if I tried) in a chase scene again lifted directly from Aliens. The survivors are taken prisoner and we encounter a ragtag society of garishly dressed maniacs who burn alive and devour one of the captives while playing a Fine Young Cannibals tune (my, that's clever) in a scene that tries to be both scary and funny and fails to be either.

Of course, the survivors MIRACULOUSLY manage to escape - on a steam train, waiting for them in a nearby station, no less. Don't ask. Wandering around the Highlands for a bit while not resembling the Fellowship of the Ring at all, they finally traverse a mountain range by means of a gigantic, underground storage bunker filled with mysterious and obviously completely untouched containers, crates and boxes.

After getting kidnapped by some knights on horses, encountering the elusive Dr. Kane – who now rules a pseudo-medieval community based in a castle - and defeating his best fighter in a breathtaking and totally unexpected turn of events, the group escapes once again, re-enters the Warehouse of Moria, opens one of the millions of containers nobody ever bothered to look at twice in 30 years of passing through and finds – huzzah! - a shiny new Bentley Continental. The tiresome punks from Act I make their reappearance and give chase, only to be killed off in various unexciting ways by the strangely slow but completely indestructible Bentley. Well, whatever. I won't give away the ending, lest I spoil the surprise (ho, ho).

2/10 (one star for the first five minutes).

Like Greg Mclean, director of "Wolf Creek" and another great white hope for the horror genre, Neil Marshall followed a very promising horror flick with a deliberately trashy project. Where Mclean directed his attention to a murderous crocodile, Marshall took a bow to two of his favorite movies, "Escape From New York" and "Mad Max". "Doomsday" is not just influenced by those two movies, it's practically a mash-up with the female heroine from "Underworld" thrown-in. So, the first thing you should forget about when you pop in this movie is originality. Marshall makes no excuses for paying homage to his heroes George Miller and John Carpenter (hell, he even named two characters in this movie after them).

Like "Escape From New York" and "Mad Max", "Doomsday" demands a lot of suspension of disbelief to be enjoyable. However, maybe sci-fi flicks could get away with more stupidity in the 80's or maybe Marshall's movie is just extra dumb. Sometimes it seems like the director wasn't even trying to fill plot holes or avoid laughable action scenes. If you're looking out for mistakes in "Doomsday", you'll find plenty to complain about.

So, no, this isn't the high profile follow up one would have wished for after the dense, claustrophobic "The Descent". On the other hand, "Doomsday" doesn't fail to entertain. It's fast paced and charmingly old fashioned. Who else dares to come up with a post-apocalyptic world in which punks and knights rule the country in this day and age? Marshall's love for the project is somehow transmitted to the viewer and actually gives you a very pleasant feeling.

If you're able and willing to turn off your brain, "Doomsday" can be a very entertaining, old-fashioned action movie. It may not be a masterpiece or even a good movie, but it can definitely be seen as a fun little interlude by a director that must not be written off just yet.
Prowel Loyborg
Another retarded movie based on a computer game, right?

"Escape From New York" (9/10) meets "Lara Croft" (1/10) meets "Children Of Men" (0/10) meets "Aliens" (9/10) meets "A Bunch Of Crap" (?), resulting in "Mad Max IV: Beyond Moronic" (-100/10) - a valiant effort in trying to dethrone "Battlefield Earth" as the most idiotic film of this century. This dumb action flick came just an inch away from being an all-out parody of "Mad Max II".

"Doomsday": the movie that presents us with a virus with a sense of humour. Anyone infected will become a Rastafari or a punk, complete with a Mohawk or a full Bob Marley makeover. But let's start from the top... of this s**t-pile.

It's the year 2008, and a deadly virus decides that the Scottish are too numerous, even though they make up less than 10% of UK's population. The virus pretty much drew a straight, precise line - using a ruler - between England and Scotland and decided to spare the English, for some mysterious reason. The oh-so evil English in the uninfected South set up a wall to quarantine the hapless Scots. How these Glaswegians and other Northern Anglo-Saxons failed to notice that an entire, kilometers-long, tall wall was being built to imprison them until it was actually too late to escape past it, well, for that explanation you have to ask the ultra-brilliant script-writer of this nonsense, this MTV/PC-game-age baloney of cosmic proportions.

Is the movie trying to tell us that the Scottish don't wash as regularly as the rest of us, hence deserved to be singled out to be the sole carriers of this plague?

The British soldiers of the year 2008 will kill at the slightest provocation - i.e. they are the evil English working for their evil, democratically-elected government (did anti-English Mel Gibson help write this crap?) and yet these soldiers go against their orders by taking a young girl out of the infected zone with a chopper. Huh? Pedophiles? Why would they do that? Aren't they endlessly evil and obedient? Maybe they saved her because they sensed that she'd make a terrific soldier and shooter with that one eye. You see, in movie-world's special military or police forces it actually helps to have 2D vision. Do not question the logic; I'm sure these wonderful movie people knew exactly what they were doing - every step of the way.

Ah, but I forget that Lara Mitracroft has a fake eye which she uses to watch her targets from a frog's perspective. What good is that? It certainly didn't help her save her colleague early on in the movie. Seriously now, that removable-eye shtick should have been used for a more comedic genre. I think Lara should take that eye, stick it up her derrière's opening, and then with this eye watch things exit her you-know-what... Then she'll know what it felt like for me to watch this hokey, nonsense-a-minute rubbish.

30 years have passed, we're in the exciting future (2038), and the little one-eyed girl has grown into an ugly monster called Rhona Mitra. Unsexy, unlikable, a bad actress, with a masculine face only her infected mother could love. She is sent on a mission to find the cure for this once anti-Scottish virus, which had by then developed a taste for English blood, too. All of London is under threat from a massive plague. The (stereo-)typically evil government is hell-bent to kill off the Londoners at the slightest chance, or at least to let them die off like rats: after all, we all know that British democratically-elected governments had always been inherently psychopathic. Why would the gov't cover up for three years what they knew about survivors in Glasgow? Oh, but I forget: Western democracies are all run by demented politicians - while the likes of Cuba and South Africa are idealism-driven Utopias in which the birds chirp and people smile with the innocence and contentment of young lambs. Or at least that's what left-wing propaganda film-makers want you to believe...

No wonder the UK of 2038 is screwed: when an one-eyed woman is the best that you have to save 10 million Londoners then you must be a desperate nation of people indeed.

If you thought the movie was dumb in the year 2008, just wait until Lara Croft goes to Glasgow of 2038. You will either die of boredom or laugh your butt off watching and listening to dozens of movie clichés and retarded "plot twists". The Prime Minister's suicide is only one of many moronic moments here. And we're never told why Mitra doesn't get infected. Do the silicone implants protect her from the disease? Will she turn the Scottish cannibals into vegetarians? Questions upon questions.

An appropriately terrible soundtrack follows the silly exploits of our mentally-challenged heroes.

It is this movie's script that was infected with an ultra-nasty, resilient virus, but no-one seemed to notice - or care.

OK, I'm not claiming its good but it is serious fun. It is basically a mix of the Mad Max films in Scotland but also throw in some scenes from 28 Days Later, Resident Evil, LOTR and Braveheart.

If you can imagine that then you'll have a pretty good idea what to expect - no, I didn't think you could.

It does just massively rip off all the above but as I said, I'm not claiming its good, just a lot of fun.

Added bonus is the great music choices which just add to the fun - "Good Tning" by FYC when the main lunatic introduces himself to the crowd and "Two Tribes" by Frankie Goes To Hollywood for the big car chase.

Not gonna win an Oscar but a hell of a ride.

Upon seeing 3 great actors cast in this film (MacDowell, Siddig &; Hoskins) I had high hopes. I was sorely upset by what I saw.

-The lead character just comes off as too "bad ass" and there just isn't any enough reason or rhyme for her actions. Besides seeing her mother killed as a little girl, there is hardly anything to her. Just just a vivacious bad ass capable of anything without a moment's thought. Utterly silly.

-From the beginning, that massive wall that was erected overnight along the Scottish border seemed like total malarkey. The faceless soldiers firing upon civilians seemed a stretch too, I mean it is a small country, no doubt those soldiers would have among those civilians some friends and family. It isn't like the civilians were murderous zombies or anything.

-It was hard to believe that they just cordoned off this whole area, not publicly knowing for 30 years that people were still alive there, and never once sending in a team of scientists into an area where this plague is obviously not air borne.

-The armored vehicles that were made to look so impressive with 2035 technology sure didn't stand up very well to a few Molotov cocktails. And the soldiers that completely wigged out so soon must have been the rejects of training.

-When the soldiers accompanying the lead character did die off, I didn't really give a crap because frankly their characters just weren't built up to that point to where I should. It seemed as if the director was just jumping to and fro just as haphazardly as the writers.

-It was humorous to see that after 30 years of complete neglect that the rail lines and even more surprisingly the ELECTRICITY was still completely functional, despite having been left to derelict. There must be no utility workers today in Scotland I guess, being that their system are so indestructible.

-A sweet Bentley that must have had a hatchback V6 ramming into it seemed just as perplexing, but at this point everything was so farcical I didn't much care.

In the end, she leads the band of cannibal mad-men. The writers just went off the deep end on this one.
Eshman Puca

I went in this movie with low expectations. I was hoping for a fun, lightweight popcorn movie that might creatively rip off similar movies. It turned out that it just ripped off similar movies. There were clever touches and some enjoyable attention to detail but those brisk moments of relief were too far apart.

The problems started for me in the beginning. All of the best films of this genre never had lengthy set ups. In Escape to New York, the president is caught and Snake is on his way in and that's all you really need to know. In the Road Warrior, Max just shows up out of nowhere right into the action. This movie had a long winded exposition by Malcom McDowell and a superfluous action scene aboard a ship.

The film had moments of potential, after the introduction of Sol and the final chase come to mind, but there was quite a bit of nothing going on in between. There were also more than a few clichés. About the only thing missing was a cat jumping out of the shadows.

It may have been intended as an homage to other movies of the genre but it's tributes only served to remind me of how these other films were much more superior and I ended up leaving the theater wanting to see The Road Warrior.

In fairness to the movie I probably did go in comparing it to these other post-apocalyptic films and maybe my expectations were actually higher than I originally thought but despite that it was still a pretty bland film.
Haff Fortin

OK this movie was awful.

the camera shots are way to quick - its like you're having a seizure the entire time.

the script sucks.

being as 'strong' as the leader is, he's horrible at chasing after the 'enemy.'

the movie was confusing because it tries to tie in 8000 different scenarios..i mean, how do you go from getting chased by a horseman to driving a Bentley?

honestly, i would say the first 7 minutes of the movie are the best.

if any type of gore or cannibalism affects you, don't watch it. and if you still really want to watch it, rent it.

on the flip side, Rhona Mithra looks amazing in the movie.

I loved Dog Soldiers, enjoyed Descent and thought Doomsday was not even a film. Absolutely nothing of merit. I thought I was watching a bored run-through of the script by stand-ins. The script is uninspired. The plot is flawed so many times as to render futile all attempts to believe. Not worthy of being mentioned on the same page as Escape From New York, Mad Max et al. PS I suspect it was filmed on the cheap in Glasgow on a Friday night; this thought was the only thing I enjoyed during this miserable film. (The guidelines say I need at least 10 lines of text, hence this line. I have no desire to waste more of my life on this film but I do want to warn others.)

At this point I have already been a fan of writer/director Neil Marshall, as I have already seen Dog Soldiers and The Descent and are among my favorite modern horror films. Doomsday is Neil Marshall's take on the post apocalyptic action/science fiction genre. The film is mostly a combination of 28 Days Later, Escape From New York and The Road Warrior. The film brings us back to the good ole' days(the 80's) and is a highly entertaining and blood soaked action fest that I thoroughly enjoyed from start to finish. The flick is a little campy, but looks great and favors practical f/x and delivers huge with tons of great gory action. Rhona Mitra is our gorgeous lead and is very effective here as a female equivalent to Snake Pliskin. She does well in the fights and gives a very good performance here as the lead in this film. Bob Hoskins and Malcolm McDowell appear as well and are awesome as well. While there is a whole lot of stuff made that just does'nt appeal to me, Doomsday is totally the type of movie that at least, I want to see. I am sure this won't be the sort of film that gets awards, but it gets a thumbs up from me and is awesome in my book.

I would have loved to finish the summary with something good to say, I really would have. First let's be clear. I love disaster movies and I love Post Apocalyptic disaster movies even more. Mad Max, The Road Warrior, even cheesy movies like Empire of Ash and Def Con 4. I simply love them. So when I saw commercials and trailers for this I really had high hopes. The sight of the Bentley in the previews put me on guard but I decided to let that slide and really looked forward to seeing this. I knew it was going to modernized, but I loved the Resident Evil movies and Ultra Violet so I honestly hoped this would be like them and be worth watching. What I got for all my hopes was a lame, ripped off, boring, tired, dried up over cooked (no pun intended) piece of garbage. It had all the potential in the world and a budget to match. Yet still, this horrible mess was the best they could come up with.

First off, we have the obvious attempt at ripping off every Post Apocalyptic movie from Mad Max to Resident Evil. Then we have the lame attempt at a heroine played by a woman who couldn't fill Mila Jovovich's shoes if her life depended on it. Then of course we have Sean Pertwee relegated to the role of a simpering coward, which (through no fault of his) is about as believable as Michale Biehn in a dress playing a transvestite. Why you would throw out the chance to put a guy like Pertwee in the lead role is a total mystery to me. Pertwee is entirely believable as the gruff worn out tired soldier who has to go back in for that last fight to save everything. Or have none of the "film makers" ever seen Dog Soldiers? Let's just forget what was probably the oversight of the century and move back to our leading lady shall we?

Rhona is believable as dramatic actress who should avoid action movies like the plague, again, no pun intended. The attempt at gender reversal in the movie is obvious, painfully obvious. She's the rough and tumble character (think Mad Max) who's lost her family and has nothing to live for (think Death Wish) and has to save the world. Why, if you were going to have a one woman army like that, you would choose Rhona Mitra as your lead actress I have no idea. Although Rhona isn't quite as bad, I couldn't help but be reminded of Blood Rayne and the god awful attempts at physical prowess Kristanna Loken provided us. Rhona is nowhere near that bad but she's not much better. She obviously has some ability, but nowhere near enough to make her role in Doomsday work. She is never believable as the heroine, never are her battles even remotely realistic and never do you forget your watching choreographed fight scenes. If your lucky you fall asleep. Unfortunately I didn't.

One of the least believable scene's is the fight between Rhona Mitra's character and a seven foot tall three hundred pound guy dressed in about eight hundred pounds of metal Armour. Apparently to watch this movie you have to throw common sense out the window. Which I guess I should have because during the entire scene all I kept thinking was "I'm pretty sure if you bare fist punch solid steel all you'll wind up with is a broken hand". Not this girl. She can get belted with a spiked Mace full on and come away without a scratch. Well, not quite. At least during that scene Rhona finally gets a cut on her lip... Okay, on to the car because I just can't resist.

What are the odds that thirty years after Scotland is sealed off from the outside world by a giant wall, and taken over by gangs of cannibals, a nice pristine 2008 Bentley would survive it all? Not to mention conveniently situated next to barrels full of untouched gasoline and a crate full of neatly packed (activated) satellite phones that still work. Oh, and that a Bentley could ram through a bus and not even damage it's front end...and get rammed by (and into) dozens of Road Warrior type cars and wind up with just a few scratches? You know I could go on, but I won't. I've wasted enough time on this farce of a movie without thinking about it any more. Sure I'll be ranting about it for weeks and throwing myself in front of people's TV sets trying to spare them the anguish of watching it, but that's another story.

Maybe if they had cast a woman suitable to the role, this movie might have worked. Maybe if they had at least not tried so very hard to rip off so many other movies, I might have liked it. Maybe if I poke out my eye I can get a cool robotic one like Rhona's character has. Totally pointless but completely stupid at the same time!

In all honesty it would seem to me that the Mad Max series is still king of the Post Apocalyptic genre and If this movie is the best that it will go up against in the future, then that title is certainly safe. To the film makers I would say, give us some credit for god's sake. Even Max got shot, beaten to a pulp and could hardly walk by the end of all the movies. Oh, and next time, don't throw away your opportunity to put someone like Pertwee in a role he was born for so you can put people in theater seats to see Rhona's butt in Spandex. It's nice and all but it can't save a movie, at least not this one.

I just love the end of the world. Whether it's Day Of The Triffids, War Of The Worlds, The Stand, 28 Days Later or any number of other books or movies, there's some vicious little child in me that takes great joy in seeing the whole of civilization smashed into little bitty pieces. So when I heard that Neil Marshall, the director of the great Dog Soldiers, was making an end-of-the-world movie, my sadistic little heart leapt for joy. This was going to be good. This was going to be one of the movies of the year.

And I gave it the benefit of the doubt, at least at first. The clunky voice-over I could live with, the excessive gore wasn't a problem (exploding bunny, yay!), and... OK, why are those soldiers standing in the middle of a horde of rabid, disease-carrying Scottish people? Especially when there's a big, safe wall not a hundred feet away? And how did they build that wall so quickly, and how did they prevent anyone from getting out of Scotland, especially before anyone knew how serious the virus was? All right, asking too many questions. There's bound to be one or two plot holes, you just have to look the other way and pretend they aren't there. There's a good action sequence, and then - who's this stumbling old man? He clearly can't act for toffee, but he looks strangely familiar... Bob Hoskins? When did he become such a lousy actor? OK, we can ignore that - my God, the guy playing Canaris is even worse. And how come, with Britain's economy in the dumper, the population of London has doubled thirty years into the future? Wouldn't people be, you know, leaving, rather than moving INTO horrible slums in a dying city? Where did the infected people in that London basement come from? Did they drop from the sky? How come they got there without infecting half the country on their way? And if the evil mastermind is going to wipe out London anyway, why did he bother sending a team up to find a cure for the virus? What was the point of that? And how did those tanks run into the middle of a vast herd of cows without noticing? One cow you might miss, but there are about a thousand of the buggers milling around, and despite the tank's big glass windows, they don't see any cows until someone steps out of the vehicle. I've heard of selective vision, but that's just dribbling madness.

And oh yeah, you didn't think tanks generally had large, plate glass windows, did you? And if they did, they'd be made of some amazingly tough material, right? Nope. The windows of this tank can be busted by THROWING A ROCK AT THEM - making the invincible machine vulnerable to anyone with a throwing arm and a pebble.

OK, that's enough. 24 minutes into the movie and I just can't write any more. The dialogue is clichéd, the acting is abominable, the plot doesn't make the slightest bit of sense, everything about this film is poorly done trash that seems to have been knocked off in a couple of days by a bunch of witless clowns with less talent than a dung beetle. And yeah, I have seen the rest of the movie - I could be here all day talking about the bits that make no sense, but I'll spare you.

All right. Getting worked up now. I'll just take my medication and go off to bed. And when I wake the next morning, maybe I'll have forgotten this wretched, pathetic, miserable dog's dinner of a film.
If you enjoyed 28 Days Later, Mad Max: Beyond Thunderdome and Gladiator, this might be the film for you. Writer and Director Neil Marshall (Dog Soldiers, The Descent) an obvious student of genre movies, has managed to smoothly craft together a cinematic Frankenstein's monster of sci-fi action clichés. Gratuitous blood geysers? Check. Insane, post-apocalyptic punks? Check. Buff, beautiful, uber-bad-ass heroine that can kill without a moment's hesitation but still possesses superior morals to those that command her? Check. Ego-maniacal bad guy played by Malcolm McDowell? Check. Ticking clock to doomsday? Check. Marshall has skillfully engineered what is truly an homage to the genre movie and an action buffet for moviegoers with appropriate kitsch and over-the-topness without lowering himself to the realm of spoof. If you're looking for high cinema don't look here, but if you're looking for excitement, humor and an overall really good time, Doomsday will certainly fit the bill.

This is, without a doubt, one of the worst movies I have ever seen. It is so fantastically bad, I could talk for hours and hours about each and every little atrociously bad element of the movie. I am no stranger to the incredible or the suspension of disbelief required of any sci-fi fan wishing to be entertained. I love outlandish and outrageous things! I cannot, however, abide things which are literally UN-BELIEVABLE, and which conflict with ANY world, fictional or not.

This movie is a tour de force of idiocy. It is one long line of things so unimaginably retarded, you end up with a slight sensation of vertigo from shaking your head so thoroughly from start to finish. I will mention a few things that stood out as being particularly idiotic, but please believe me when I say that there are somewhere in the neighborhood of five hundred to a thousand equally appalling scenes left unmentioned.

Let's begin. Why are the soldiers at the beginning standing amidst a crowd of plague-carrying Scots? Why are they in front of the fence? As you ponder this, watching them get torn to shreds, you are interrupted by the realization that not only is there a fence behind which they would have been safe, there is also a forty foot tall steel wall a few hundred feet further back. Why are they not behind this wall? Who is in charge of this completely incompetent band of military morons? Why is a chopper behind enemy lines at this point? Why are the soldiers in the chopper not wearing protective gear? Why do they let indigenous Scots covered in blood and grime approach the helicopter? Why do they bring a blood-covered, bleeding, Scottish girl fresh from the crowd of plague-carrying lunatics onto their chopper, which is en route to the safe side of the wall? Is this not...perhaps a little foolish? In 2035, why does the heroine toss her eyeball (yes, really) instead of using a small mirror? Failing that, why isn't she using a little camera and a wrist-mounted monitor? In 2035? On that note: why is the technology in 2035 virtually indistinguishable from technology in 2008? Returning to our heroine, why would she give up her depth perception and risk losing her one eye? Someone might step on it, I'd think? How does the eye rotate on a flat surface without movable parts, while staying in place? Up in Scotland, if the tanks in which the special forces ride are so sturdy and gas-proof and you'd-need-a-50-caliber-rifle-to-put-a-dent-in-this solid, why does it come equipped with a large glass front window which can be shattered by throwing a brick? Why did no one spot the cows from afar? A thousand cows and suddenly they just hit one in the middle of the herd without warning? Ninja cows? Who dyed the Scots' hair? Why do they dye their hair? Why are they armed and working together? Why are they in the hospital after 27 years? Did they sit there for 27 years thinking, "One of these days...!" ? Who took the time to carve the names of disease-victims intricately into the large slab of marble at the hospital? After Scotland is walled in, its population dropping like flies, someone took the time to erect a massive marble wall and start carving the names of the dead into it? Seriously? How could a scientist in 2008 get further with his research in 3 months in a war zone than the entire body of scientists on the planet could in 27 years? Why did the rest of the world's scientists not attempt to concoct a cure for the virus? Why does the guy left behind in the vehicle outside the hospital go out to "help" the girl? Why does he carry her into the tank, remove his protective gear, and then turn his back on her? Who exactly is throwing the grenade right after the guy gets his throat slit and dies?

I could go on for a great deal longer, I assure you. I repeat: EVERYTHING - every single little thing - about this movie is so indescribably retarded as to be downright depressing.

This is the worst movie in the world. Hands down.
Hadley Verges

A deadly virus of unknown origin has spread rapidly through Glasgow, Scotland, killing its victims rapidly. The British government has built a 12 foot steel wall the whole length of the Scottish/English Border in super quick time, so that nobody can get in or out and so the Scots can rot away to their hearts content. 20 years later in London and there is another outbreak and so the government is forced to act, they know that there are still survivors beyond the wall and so they send a crack team of experts in, to find out if they possibly have immunity and to find the mysterious Dr Kane a scientist they believe might have been working on a cure. The leader of this expedition is Maj. Eden Sinclair, a one eyed woman who as a child had been saved by soldiers at the last moment before the wall closed for the last time. her motives are to see her family home and perhaps find her mother.

Like all films by Neil Marshall this latest effort came with a great air of expectancy, so does it deliver?…well it does and it doesn't. Its an apocalyptic tale along the lines of 28 days Later, but it soon spreads its wings and delves into many genres and plucks with its plagiaristic fingers ideas at will from many films. The overall feel of the film is a hotch potch of ideas, one gets the notion that Marshall doesn't have an original idea of his own at all. What is it about the future, that when all law and order has gone and people are struggling to live, find food and drink, some shelter not to mention avoiding a deadly virus etc…rational thoughts desert them and the first thing they want to do is build a car or a hotrod motorcycle with skulls on it?….well I'll tell you why, because they need transport to the local Cyber Punk Hair Salon, where they all queue for hours with photographs of their favourite member of Sigue Sigue Sputnik and discuss the merits of Adam Ant's Kings of the Wild Frontier, where they also tell the stylist "I want a Mohican like that...oh and could I have it in bright pink please? damn all out of bright pink, How about luminous aquamarine or cerise? Not only that, but they also live in Glasgow, I don't know if any of you have been to Glasgow, I have many times and its Effing freezing, so why do they all the men go around bear chested and all the ladies wear leather bikinis or less? Maybe its because they are at war with the devilish Dr Kane, who lives in a big Castle, where all the men wear suits of armour and all the ladies have wee lace bonnets and dress like old hags? One thing about a deadly virus it always gives people bad dress sense.

Marshall has made his own bed here and must take responsibility for a lack of imagination, I believe he has stated he wanted this one to be "for the fans", so they could "guess the films he was homaging", but it can't take away from the fact that he has single handedly stolen ideas from Mad Max, Escape from New York, 28 days later, Ivanhoe, Gladiator, Indiana Jones and a host of other genre films. So enough of the good things and on to the bad, oh I mean good, Well the film wastes no time in getting going and it goes along at a fair old pace, so fast you don't always have time to turn your eyes to heaven and tut. The special effects are really good, as are the fight scenes and the driving/chase scenes, the acting is a little stilted though, (ooops I'm back on the negatives again...oh well) the dialogue doesn't fare much better. From my comments you might think I hated this film....I didn't, I don't know why but somehow against my better judgement, I actually enjoyed it, its escapism and fantasy on another level, its not great by any means but if you want a mindless entertainment for a couple of hours, this one fit's the bill. 6/10

If you're a fan of action, horror, and the 1980s, this is the film to watch.

If you don't enjoy those things, stop reading. This is for the true believers.

Doomsday is a love letter to 70's and 80's classics like Mad Max and Escape From New York. It's pretty reminiscent of Grindhouse: Planet Terror, so if you enjoyed that modern cult classic, you could get some kicks out of this one too.

Rhona Mitra sizzles as the stoic feminine warrior. She kicks ass, she's looks good. Bob Hoskins gives the movie heart with his fatherly performance, granted he gets less screen time than he deserves. Malcolm McDowell is as entertaining as always, he brings some class to the occasion. But enough about the cast, how about the mayhem? Yes, this film has it all. Crazy punks, medieval gladiators, and modern futuristic soldiers. It's got tons of inventive kills and bloody gore to spare.

The soundtrack featuring 80's style heavy synth, grandiose opera, and 1980's hits such as "Good Thing". There's plenty of enjoyable, cheesy yet clever dialogue.

What more do you need? Action/Horror fans, check out this fun gorefest. Enjoy.

I saw this with my dad in a theatre in 2008. As a fan of Neil Marshal, I enjoyed it. His Dog soldiers n The Descent r very good horror films. I found this flick to be a very entertaining n action packed. It was like Mad max on steroids. This movie is a pure adrenaline rush with lots of action and suspense, violence and gore. Its an over-the-top grindhouse epic. A homage to Mad max, Escape from New York, Death race, 28 days later. Awesome visual effects. The pacing is very good. Action n horror fans will not b disappointed. The gore was excellent n top notch. The action is superb, the car chase is excellent with lots of body count n superb camera work n loud music. Mitra is gorgeous, the cinematography is excellent. Pure action n entertainment at its best. Bought a DVD of it recently. Need to revisit. Need to check the hot babe Lee-Anne Liebenberg.
Kraft Woodke

What an insane movie! I saw it in a criminally tiny Saturday afternoon audience (four people) and we all had a terrific time. Don't expect sense, great acting or original dialogue, just go for the kicks and enjoy. A totally deranged, over-the-top splatfest with hideous viral deaths galore, some of the best post-holocaust punk makeup and chase scenes since Road Warrior, brilliant use of 1980's dance music (Adam and the Ants, Frankie Goes to Hollywood--the placement of Siouxie and the Banshees' "Spellbound" and a Fine Young Cannibals track at the punk barbecue is simply inspired), a coliseum battle-to-the-death, a bizarre interlude in a Scottish fiefdom that feels as if the movie took a fast detour into the Shire, and the coolest star turn by a UK car since Harry Potter's posse made one fly. All of it snapping and crackling with so much kinetic energy and wild creative freedom that it's hugely exhilarating. We were still giggling like maniacs an hour after the movie.=) It's just such fun to see a director decide to go full-speed over the edge like this. It's not great art, but trust me, if you enjoyed Mad Max: Beyond Thunderdome, Planet Terror, Escape from New York/L.A., and/or any recent zombie movie, you can't miss this one.
Stanislaw Kalawe

OK, like before DOOMSDAY, Neil Marshall made two great films, DOG SOILDERS and THE DESCENT, so going into this, i had high expectations. then i heard all of the negative buzz on the internet for months and months. so then i had low expectations. and the trailer sucked. basically, if you go into this film expecting anything serious at all, then yeah, you're going to be disappointed, because this is in no way a serious movie sci-fi action future apocalypse thriller. what it is - a tongue in cheek splatter fest homage to the great John Carpenter movies of the 80s and with a bunch of mad max thrown in. if you loved PLANET TERROR, then you will dig on this. really this flick reminded me of the vibe of BIG TROUBLE IN LITTLE CHINA or CRANK. i'm not sure why more people weren't laughing, cause this film is simply hilarious. it just gets more and more over the top! cannibalistic punks BBQ one of our heroes to Siouxsie and the Banshees "Spellbound." and they have a GIMP!! little furry bunnies get blown up, and cows are squashed via tanks! oh yeah, look at you now, all covered in virus infected blood prime minister. what did you say, who is that guy? oh yeah! it's Dr Bashir from Star Trek Deep Space Nine, yes!!!

the gore is consistently excessive and top notch. then out of nowhere, it's a knight on a horse, hey there's Malcom McDowell collecting a paycheck!! boy does his nose crazy silly for some reason! this film is totally intentionally funny and camp. the thing is, i think it has a bit too much of a British sensibility for an American audience, cause there is a certain dryness to the humor, but it's pretty clear that Neil Marshall set out to make a big dumb retarded and fun Hollywood movie, and that ironically Hollywood is too stupid to know how to market it. this will find an audience on video, cause while parts of it are derivative of it's influences, it's too much fun not to like. you just gotta keep drinking and/or smoking! there are only a couple of aspects that keep it from being great - the editing is terrible pretty much throughout, and some of the action is hard to follow. then there is the dialogue that is really poorly staged. like they were working so fast to get the shots and come in under budget (especially at what is supposed to be a climatic scene between our heroine and one of the villains) that they just staged it, shot it once, and the actors were like, hurry up lets be done with this, we're ready to hit up that catered food. but regardless, i had a blast, don't know why my roommate asked the theater management for his money back, what a loser.
Rolfe Stonefield

I think that the movie starts out well. The narrative is fine and the atmosphere of impending doom gets through to the audience. At the very moment that we enter the virus-zone the movie falls apart.

They are attacked fiercely by a large number of punks and since the team was so unprepared it made you wonder what information they had from the photographs taken from the satellite. They try to escape in their vehicles and somebody smashes the window with a rock or something!? How is this possible as we were told that their armored vehicles could withstand high caliber weapons...? Many obvious flaws in the movie combined with a world in the virus infected zone that is to unbelievable...

I can't recommend this movie no matter what.... You will not be able to suspend your critical thoughts when watching this movie.

Regards Simon

PS. such a shame that Malcolm Mcdowell chooses to appear in this movie.

Ps. When you read reviews that gives max score check to see if the user has made more than one review. If not consider the possibility of a lobbyist. If you agree consider putting this post scriptum at the bottom at your own reviews.
North Mcnuh

"Doomsday," the third feature from British "B"-movie tour de force writer-director Neil Marshall, is a rehash of several distant cult movies, including both of Marshall's previous films, which are also considered cult classics. Yet, that doesn't make "Doomsday" even remotely bad, but it does make it very interesting not just to follow the story along, but to also point out the many references to films past.

Even the most amateurish film buff could point out the assorted references to "28 Days/Weeks Later," "Escape from New York" (1981), "Aliens" (1986), and the "Max Mad" movies. It's all part of the fun, really, and you can't blame Marshall for making references to the movies he loves and have inspired him as a filmmaker. Even his first feature "Dog Soldiers" (2002) and his superior follow-up horror flick "The Descent" (2005) get some mention here.

In the future, an out-of-control virus called the "Reaper virus" (the "28" movies) completely decimates Scotland, eventually leading to its being quarantined off with a 20-foot-tall, 12-inch-thick impenetrable wall ("Escape from New York") on all sides. The rest of the world goes on as if nothing happened, while millions are forced to fend for themselves in the virus-ravaged wasteland of former Scotland. In the the 30 years since the quarantine, law &; order broke down and anarchy took over.

30 years later, the Reaper Virus makes a comeback, this time outside the quarantine zone. More news develops when spy satellites monitoring the former Scotland detect human survivors. Could there be uninfected people? Could there be a cure in there somewhere? Regardless, the government organizes a small task force to go inside and find answers. Nelson (Bob Hoskins), a government handler, is given the assignment of having his best operative Eden Sinclair (Rhona Mitra) go inside with a crack team of commandos and look for answers.

They have 48 hours.

Right away, "Doomsday" removes itself from other post-apocalyptic movies by not focusing on the catastrophe itself and instead just focuses on humanity's attempt to move forward. "Doomsday" is about anarchy, and the downfall of society: What happens when you just leave a country to wither and die in the face of disaster? On the inside, however, it's all about finding a cure or a vaccine and bringing it back to the rest of the world. When Sinclair and her team are on the inside, they're all on their own, but of course they are not alone. As it turns out, barbaric clans have been formed (the "Mad Max" movies), under the leadership of Sol (Marshall's favorite go-to guy and movie regular, Craig Conway), who seeks to lead his punk regalia-clad minions to the conquest of the free world outside the quarantine zone. It should be pointed out here that they're pretty much cannon fodder ("Aliens").

It's fair to chide "Doomsday" for some script deficiencies and overly-abundant throwback references to films past and an apparent lack of details regarding Scotland's decimation in the 30 years since the Reaper Virus's outbreak, and Sol's rise to power. But Marshall keeps "Doomsday" lean and focused. Once on the inside, it's anything goes, as Sinclair and her teammates are pretty much left to fend for themselves when Sol's men ambush them and force them to participate in increasingly sadistic games of violence for survival and for that, the blood and gore is sufficient (Marshall knows no boundaries in the area of special effects).

"Doomsday" is an accomplished third feature from a provocative filmmaker, Neil Marshall. Though by no means perfect ("The Descent" was and I was feverishly looking for "Doomsday" to surpass it), "Doomsday" is still looking to make a killing at the movies this weekend.


Stunning Rhona Mitra is the only saving grace of the dreadful "Doomsday". Even her charismatic presence and black skin tight couture can not salvage this narrative quagmire from Director and Writer Neil Marshall. Marshall was actually very effective in "The Descent". That makes what happened here even more bewildering. "Doomsday" is a mutated clone on a number of levels. Beautiful Rhona Mitra resembles Kate Beckinsale of "Underworld", but is a more athletic version. The comparisons to "Underworld" are warranted-- in particular the Gothic nihilistic tone. No Vampires. Instead we have cannibalistic survivors of a deadly man-made virus. The "Doomsday" post apocalyptic world of 2033 lands as a cheap rip-off of "The Road Warrior" and "Mad Max: Beyond Thunder Dome". At times enduring the grotesque cinematic chaos becomes insufferable. There is a protracted scene in which one of Major Sinclair's (Mitra's) men is charred crispy and then consumed. "Doomsday" begins with a promising premise, but soon spirals out of control into the narrative abyss. This is too bad, because Mitra plays a great hero and Malcolm McDowell garners enough restraint as the compelling antagonist Kane.

In 2008 a lethal virus eradicates Scotland killing hundreds of thousands of people. The Government in a radical measure to contain and quarantine the area erects an impenetrable Wall along the British border. One of those lucky to escape during this turmoil is young Eden Sinclair. Her mother apparently sacrifices her life to save her. The young child grows into Major Sinclair (Mitra), who is now a powerful and capable warrior.

In 2033, the virus re-emerges in England; thus threatening total annihilation. However, intelligence photos of the quarantine region reveal survivors. Therefore, a cure for the virus may exist somewhere beyond the Wall. Prime Minister John Hatcher's (Alexander Siddig) national and political survival rests on finding this cure. Apparently Kane (whacked out Malcolm McDowell), who discovered the virus, may have developed an anti-virus. Hatcher tasks his security minister Bill Nelson (Bob Hoskins) to assemble a military team to retrieve the cure from the quarantine region. Nelson enrolls Major Sinclair (Mitra) to lead this mission. Sinclair quickly assembles her team, and they embark on their mission to find Kane and the cure. Once behind the Wall, the mission goes amok—predictably. Turns out that Kane (McDowell) has recreated his new world as a quasi-medieval existence where only the strong survive. From this point on the mission much like the movie becomes murky and incomprehensible.

Even as a straight action movie "Doomsday" is puzzling. The quick cut edits, and dark atmosphere do little in defining crisp and engaging action sequences. Mitra performs the fight scenes admirably, though I'm guessing she is not a trained martial artist. It just comes off as sloppy. Most of the cloned "Road Warrior" high speed chases are embarrassing.

The conclusion of "Doomsday" makes no sense at all. What was Neil Marshall's point? There are a bunch of silly post apocalyptic mutant zombie movies out there, and this one is really unpleasant and not all that much fun. Rhona Mitra and Malcolm McDowell are completely wasted here. And "Doomsday" was nearly a complete waste of two hours.
Scherle Danny
It's April 2008, and a sudden viral outbreak has hit Scotland hard. To contain the deadly bug (dubbed the Reaper Virus), the British government works quickly to build a containment wall around the afflicted country. The possibility of the disease spreading to the rest of the world appears to have been effectively stopped in it's tracks. Fast forward 30 years and the virus has reappeared, this time in London. Satellite monitoring has picked up images of apparent survivors in the hot zone, which leads the government to suspect the potential for a cure. Desperate to put an end to the reborn plague, the Brits send a team of soldiers into the walled off country in the hopes that they can find the cure that may not even exist.

The third feature film from British filmmaker Neil Marshall. I thought this was a fun time at the movies, but don't expect anything new here. Doomsday is a pure love letter to Escape From New York and the Italian post-nuke films of the 80's. There are homages all over this thing, and I would like to think that I caught most of them. Hell, even Nightmare City seemingly gets a nod with the look and behavior of the infected. Watch the scene where one of the infected axes his way into Hatcher's compound and see if Lenzi's trash classic doesn't come to mind. Marshall knew what he wanted to do with this film, and he does just that. I have to admit, it was somewhat surreal watching such a film on the big screen, particularly the extended Sol/feast scene, which gets pretty nutty.

Rhona Mitra plays the team leader of the squad sent into the hot zone. She's a gorgeous woman with a killer accent, but she also comes through as a believable action star. I've long been a fan of her's, so it's nice seeing her get a role like this. Craig Conway is warped as the over-the-top Sol, but he lacks menace. He did get me to hate him, but that had more to do with the fact that I found him annoying. The considerable talents of Malcolm McDowell, Bob Hoskins and Alexander Siddig provide solid support despite what little they have to work with.

My biggest gripe with the film is the wall to wall use of music. It seems like there's never a scene that doesn't have some form of music blaring, and that becomes tiresome. A little more subtlety in that area would have been most appreciated. Also, some of the scene transitions feel awkward, and the film itself feels quite rushed. We don't get much down time or quiet moments, it's all very busy.

Still, I must admit that it's decent fun. Original? No. Flawed? You bet. That aside, if you have a certain affinity for this brand of entertainment, you should eat it up. And for the record, I'll take this one over The Descent any day. Mitra puts the wannabe badasses in that clunker to shame.

Like Dave White says on his review, this movie is all about action and gore and it has anything you can imagine. Pick up your favorite thing of any action movie... Yeah, it has.

Neil Marshall is the director of this sci-fi-thriller-epic. He's also the director of The Descent (2005), an incredible thriller with great tastes of horror with an outstanding grand finale.

Of course that Doomsday is not so refined like his previous movie, but while the The Descent is all about technical perfection, Neil Marshall seems like just having fun here, and that's what makes this movie so enjoyable, because it's thrilling without being intelligent, it's funny without being crappy, it's frightening without being predictable and also predictable without being unpleasant. It's a very uncommon action movie that brings us back to great references in action movies thru the years since the 80's. It could have been a huge mess, but it actually works. It starts as an horror movie like 28 Days Later, then it becomes a sci-fi movie with tastes of Alien, bring us great remembers of Mad Max, passes thru dungeons tales and ends up like The Transporter. Right to the point: Neil Marshall is not afraid to dare and play with clichés in action movies over the decades.

Doomsday has some resemblances to his previous movie: it's all surrounded by a female character; the main character has to deal with "things" that somehow survived in a stark place and the characters has to deal with extreme conditions.

The main character is performed by Rhona Mitra, an actress who is gradually gaining prominence and more interesting major roles mainly in action movies. And she deserves it. Specifically in this movie she is a bad-ass woman with heroic intentions but politically incorrect, which makes her character well edged with an interesting appeal, giving to the audience fair reasons to keep their attention always on her and thrill with every moment she gives. The movie is all about her, and Rhona Mitra was a good choice for the role because she has all the qualities and flaws that fits perfectly to the character.

If you like action movies but it's not worried to dare something a little different from what is being produced in the last few years, this is an excellent choice. It's not something that you will keep remembering for a good time like the movies that became references to this one, but it's something that you will enjoy (a lot) for a few hours.
Desberg Whitener

Now don't get me wrong. I love bad movies, I really do. I may love them more than good movies. But Doomsday is one of the worst movies I have ever seen. And I didn't like it. Picture this: an Aeon Flux reject from Resident Evil is sent to an area walled off 30 years after a crazy virus kills off thousands of people. Why is she sent? To find the cure of course! Outside of the Wall she finds a whole bunch of cannibalistic gutter punks. Aside from some hilariously bad dialogue, and the cannibals, there are knights (thats right, from Medieval times!), ridiculous stunt driving with lots of explosions, and plenty of walks across the countryside with hobbit-like survivors of the plague, looking like they are trekking to Mordor. I think it was about that time I got a case of the giggles and had to excuse myself. This movie was one of the most gratuitous, ridiculous wastes of time ever! But I did get a bit of a laugh out of it, so maybe I'm being too harsh.

I certainly didn't rent this movie expecting anything good, just something mildly entertaining. What I received was slightly less than entertaining. In this Mad Max wannabe film, mohawked road-warriors have simply been replaced with slightly more stylish, punk-looking freaks with equally overdone mohawks, copious piercings and unrealistically flawless tattoos. How these people got ahold of all the tattoo guns and yet have no actual firearms is beyond me. How these club-swinging, Molotov-throwing ruffians are somehow starving and forced to subsist on human flesh yet the protagonists drive through a herd of cattle prior to entering post-apocalyptic Glasgow is also beyond my comprehension.

I think the writers may have smoked a little too much weed while creating the script. I can picture one of them in his living room, lips pressed to a two-foot bong, thinking…"Cannibals. That's it! That's how we make it stand out from Mad Max. Genius!" The plot holes and inanities continue throughout the rest of the film. Even the music was lame. They could have at least included some good heavy metal. Well, the chick with all the face tats is hot, until she gets beheaded of course. If you dig B-grade splatter horror/action with a Hollywood blockbuster budget, you might actually enjoy this film (as it seems other reviewers have). Otherwise, your time might be better spent sitting on the toilet or mowing the lawn.

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