Deal Score0
Deal Score0

From the director of The Descent comes an action-packed thrill-ride through the beating heart of hell! To save humanity from an epidemic, an elite fighting unit must battle to find a cure in a post-apocalyptic zone controlled by a society of murderous renegades. Loaded with ferocious fights and high-octane chases, Doomsday grabs you right from the start, and doesn’t let go till its explosive end!
Loud, violent, and proudly derivative, the post-apocaly… More >>


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  1. if i could give this zero then i would

    mad max meets robin of sherwood


    dnt waste money at cinema and dont waste your bandwidth downloading

    absolute CRAAAAAAAAAAAAAAAAP!!!!!!!!!!!!!!!!!!!!

    dnt say i didnt warn you
    Rating: 1 / 5

  2. This movie was really bad. I watched a few people walk out and my friend and I were close to doing the same.
    Rating: 1 / 5

  3. For those of you who have read a few of my reviews, this is actually a bit of a first for The Curmudgeon; this is the first time I’ve actually reviewed a movie while its still in the cinema. Which would be fine, except it means I wasted my money going to see this. Ho hum.

    Anyway, here’s the plot for “Doomsday” before we get started; a virus breaks out on er, well, April 03 2008 (should that be “has broken out”?) in Glasgow, killing pretty much everyone. So a giant wall is built around Scotland separating them from the rest of healthy Britain, leaving the Scots to perish. All is well until, 30 years later, London starts to show signs of the virus, and so they have to send someone (Rhona Mitra, sporting a fake eye that lets her see round corners.. yeah, I know) to try and find a cure from the newly discovered survivors in Scotland.

    With me so far? Well, it’s hard to know where to start with this one. I mean, as this is my first ever theatrical review, I don’t want to give away too much of the plot for those who haven’t yet seen it, and so I can’t really say too much or give away just how deeply, brain-smashingly stupid it all gets.

    It’s a real shame it has to be this way, Doomsday coming from writer/director Neil Marshall, the same guy who brought us the ultra ace “Dogs Soldiers” and the slightly inferior but still ace “Descent” has obviously sat and watched a load of awesome 80s movies and thought, “hey.. I can do that.”

    Hey Neil – no you can’t.

    Here’s a small hint for Neil; if you’re going to steal little bits from, say, “Aliens” (the big tank things in Doomsday even have the same “door opening” sound effect as the big tank things in that super sequel), fairly large bits like, say, the barbaric neo-punks from “Mad Max” or big bits like, say, most of the plot of “Escape From New York”, (complete with a brooding 80s synth score) then its best not to have the audience wish they were watching those movies instead of this bewildering mess.

    What’s annoying is that, for the first forty minutes or so, its a fairly convincing, (dare I say the word “gritty”?) portrayal of a country gripped by a disease it can’t cure. Its a sombre watch, all death, decay and violence, backed up by suitably restrained performances from the likes of Bob Hoskins.

    Remember that word, “restrained”, because its the last time you’ll see it here.

    So far, so good then. In fact, the first time the group of soldiers are attacked by the savage survivors is a taught, frightening nerve-jangler. And.. then.. just like that, it absolutely, positively NOSE-DIVES.

    Honestly, its like two different movies have been strung together. If you’re going to show a realistic depiction of a dying country, its hard to stomach surreal scenes of the barbaric hordes, complete with MICROPHONES and stadium sound, performing dance routines for each other. Never mind the fact that three quarters of the cast at this point have seemingly forgotten how to act, the film has quickly lost its realism and scare-factor – in fact, its all a little embarrassing.

    Sadly, it only gets worse from there. When they meet the next band of survivors its like they’ve stumbled back in time, with every single person dressed like extras from the first Blackadder movie, complete with KNIGHTS on horses, peasants wrapped in shawls and other versions of perfect period costume. When it comes to the most ridiculous car chase scene in history (with our heroine driving a mint condition Bentley that is seemingly made from the same indestructible material K.I.T.T was built with) you’ll either be laughing in the aisles, queuing up to get your money back or facing the most “HUH?” ending ever. Its at this point that logic has been completely removed from Doomsday, and there are several crater size plot holes I won’t mention here, and let you find out for yourself.

    With Rhona Mitra’s character Eden, it’s clear Marshall was aiming for a super cool, Snake Plissken character. She fails. She’s not believable or even that likable, and the various no-mark fodder that she tags along with are barely worth the screen time. The main cannibal, Sol, is too over the top and too badly acted to be any kind of menacing screen presence, and Malcolm McDowell actually looks embarrassed to be there. Who can blame him?

    Basically, there are about 100 films that deserve your attention this year, and while it would be nice to cast a vote for the “little” film that could, this one most certainly couldn’t.

    Don’t waste your time.

    Rating: 1 / 5

  4. Neil Marshall’s third feature film which he wrote as well as directed is a major failure. His first two films, 2002’s cynical werewolf movie “Dog Soldiers” and 2005’s atmospheric subterranean monster movie “The Descent” were excellent examples of inspired low budget filmmaking. These films were brimming over with enthusiasm, wit and a quietly self-deprecating tone, such that a number of critics justifiably saw Marshall as the potential new leader of a resurgence in British horror. Both films had a slightly derivative quality, but then that has been a convention of the horror genre for decades. But there is a fine line between being creatively derivative and a plagiarist.

    In “Doomsday” Marshall quotes from such a number of sources, in such an unimaginative and uncreative way that this film feels like a feature length exercise in plagiarism. Marshall fills his film with grotesques and grotesque performances and shamelessly enters the debased territory more commonly associated with the torture trash films of Eli Roth. The plot itself, which sees Scotland, placed in quarantine due to a highly infectious disease, is a bungled mixture of John Carpenters “Escape from New York” and “28 Days Later” lacking either films energy or style. It is filled with very grim faced and serious performances, and characters with stupid biblical names like Eden and Kane. The symbolism is ponderous and juvenile. Marshall’s efforts at gravitas through a lazy and sloppy Malcolm McDowell voice over is a device quickly forgotten as Marshall sets about putting his Lara Croft clone (the horribly po-faced Rhona Mitra) into a series of ridiculous action sequences. The future as forecasted by Marshall is the 1980’s, which is perhaps the only scary thing about the film. It is the same dystopian 1980’s influenced vision of the future seen in the Mad Max trilogy, but at least those films were actually made in the 1980’s. The use of 80’s fashions, images and music makes very little sense. I’m not sure as to what Marshall intended with this.

    It’s not a total dead loss though. Marshall has a particular flair for exciting action sequences, and the chase scene towards the end of the film is superbly edited and very exciting. Marshall also manages through accident or design to address anxieties about Anglo-Scottish relations – a prescient topic at a time in which the question of Scottish independence is an important one. The total rejection and isolation of Scotland by the English parliament in a time of crisis offers an interesting distillation of current cultural anxieties. Marshall pitches the cynicism in central government quite well, but this is undermined by Bob Hoskins’ (what in god’s name is he doing in such drivel) chewing of the scenery. No doubt the allegorical leanings of the film will rescue it from the total obscurity it deserves, but for the British horror film this is a major regression. I was looking forward to whatever Marshall’s third film turned out to be. He had got over the usually very difficult second film, but this will be a severe stain on his filmography.

    Rating: 1 / 5

  5. This is one of the most embarrassing movies i’ve ever seen.

    It takes a few elements from many different classic movies (aliens, 28 days later, mad max, blade runner, V for vendetta just to name a few) put them in a blender and use the resulting mix as an excuse for a story. Really, the story makes so little sense that it more looks like a series of action scenes strewn together at random.

    The story goes more or less like this: a nasty virus kills thousands in scotland, the government decides to shut the whole country off building a steel wall to contain the disease, leaving everyone inside to fend off for himself. 25 years later the same virus shows up in london. the powers that be decides that to avoid a widespread infection they have to reveal their biggest secret: there are survivors in scotland, not everyone’s dead. so they rack up a “elite team” to go inside, find the survivors and possibily a cure for the disease.


    After going inside the team finds out that humanity actually survived and split into two different factions: some kind of madmax-like tribe where everyone is between age 20 and 30 and, despite the abundance of cow meat, a cannibal and a medieval tribe living in a castle.

    I won’t go into further details about the story, just know that it includes everything from car chases, arena fights, knights in armor, barbequed heroes and a steam train…


    The movie itself is technically well made, it’s evident they had a good budget to work with and the cast, comprising some second-rank celebrities, considering the plot did a respectable job.

    The problem is that the plot is so… so… senseless that the only reason to watch this through the end is that you already paid for it, so…

    And the ending is so inane it’s really beyond description, you’ll stare blankly at the screen thinking: “what?”

    Hope this helps.

    Rating: 1 / 5

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