A futuristic action thriller where a team of people work to prevent a disaster threatening the future of the human race.
Back in 2008, the uncontrollable and utterly devastating Reaper Virus smites Scotland, claiming thousands of innocent lives, and inevitably, putting the land in quarantine. However, almost three decades later, in 2037, the lethal virus manages somehow to re-emerge, and as a result, the Prime Minister summons a team of disposable heroes led by Major Eden Sinclair to retrieve possible survivors, and hopefully, a radical cure. But no one really knows what horrors remain hidden deep within the scorched and unstable quarantine zone.
I&#39;m sorry, but this movie has very little to offer. I&#39;m usually pretty open minded about movies but I couldn&#39;t stand this.<br/><br/>The whole thing is predictable from the first minute to the very end. There&#39;s no way the story would unfold the way it does, things would not have shaped up to be the way they turned out, the costumes were all generic, cars exploded on contact, the characters were hollow and in some cases over the top…<br/><br/>The whole thing is a big rip off of previous movies such as mad max. It just boggles my mind that something can be so generic. No surprises, no big moments, and thats after you overlook many of the loopholes in the story.<br/><br/>On a positive note, the leading lady does do a good job being an unemotional badass. Bob Hoskins is Bob Hoskins. I&#39;d like to think of more but really I can&#39;t.
There came a point during a spectacular car chase sequence in Doomsday, when the soundtrack shifted from perfectly matched orchestral staccato to Frankie Goes to Hollywood&#39;s &quot;Two Tribes&quot;, that caused me to wince. Immediately I was removed from what had been a gripping ode to action glory and snapped into the reality of wondering how much of this film&#39;s budget went up people&#39;s noses, as opposed to being put on film.<br/><br/>Such is the fate of Neil Marshall&#39;s post-apocalyptic big budget B-movie that seems torn between castigating itself and entertaining the audience.<br/><br/>Set in the year 2035, roughly 30 years after the Ebola-like Reaper virus began decimating the population of Scotland, forcing the British government to wall the country off in an attempt to contain the bug from spreading southward, Doomsday tells the story of a team of commandos sent into the wastelands to try and find a cure. Spy satellites have revealed that there are folks still alive beyond the wall and discovering why the virus hasn&#39;t killed everyone is deemed imperative in the wake of an outbreak in heavily overcrowded London.<br/><br/>Marshall, who has risen to reverential status in the oft maligned horror genre for his critically acclaimed Dog Soldiers and The Descent, makes no pretense that he&#39;s created a work of high art here. He openly admits that the concept of the film came to him in two stages, after visiting Hadrian&#39;s Wall that divides Scotland from England and being struck with the thought of what if such a thing were erected today, coupled with a dream that involved a woman fighting a knight in amour. From there it was only a matter of time before a patchwork quilt of ideas cobbled from other movies began to be thrown against the wall to see which stuck.<br/><br/>The end result is a movie that looks and feels like the Highland fling version of The Road Warrior, with Glasgow having fallen into the hands of the mohawked Sol (Craig Conway), the psychopathic leader of a band of tattooed punked-out Braveheart cannibals, and the medieval Camelot-like society that has taken root in a Highland castle at the court of Kane (Malcom McDowell) a government scientist originally working to find a cure for the Reaper virus but abandoned behind the wall when the country was sealed off.<br/><br/>From this mix the audience is treated to copious quantities of people being cut down by bullets, knives, axes, maces, grenades, kung fu, impalings and car wreaks. And while it&#39;s easy to see why most critics will savage this movie, after all, it practically begs for it, the best advice I can give is this; if you&#39;re looking for some terrific action that has been created by good old fashion stunt-folks instead of the ever pervasive CGI, and aren&#39;t looking for anything deep except some fun while you munch on your popcorn, then I think you&#39;ll find the spirit in which Neil Marshall made this movie.
Just to shake things up a little, I guess, the creators of the laughably over-the-top Doomsday thought it might be fun to turn the survivors of a deadly epidemic, rather than its victims, into maniacal murderers.
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&#39;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 time as the virus has killed off the infected as a 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&#39; 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&#39;s (<a href="/name/nm0176660/">Craig Conway</a>) head to the punk cannibals, saying, &quot;If you&#39;re hungry, try a piece of your friend.&quot; Realizing that Sinclair has defeated their leader, they begin cheering her as his 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&#39;s show - &quot;Dog Eat Dog&quot; by Adam and The Ants.<br/><br/>Sol dances onstage with strippers - &quot;Good Thing&quot; by Fine Young Cannibals.<br/><br/>Sol dances onstage with men in kilts - &quot;The Can Can&quot; by Ariel Rechtshaid.<br/><br/>Talbot is brought out to the crowd - &quot;Spellbound&quot; by Siouxsie and the Banshees.<br/><br/>Sol&#39;s gang chases Sinclair, Stirling, and Cally on the road - &quot;Two Tribes&quot; by Frankie Goes to Hollywood.<br/><br/>End credits - &quot;Club Foot&quot; by Kasabian. The film&#39;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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