Reviews & Counting
# A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Written by: The Arrow
Director: Neil Marshall

Rhona Mitra/Eden
Bob Hoskins/Bill
Malcolm McDowell/Kane
8 10
The Reaper virus (which does NOT turn people into zombies - thank Zeus) kicks in. Great Britain quarantines Scotland behind a huge wall. Years later, Scotland has become a wasteland, filled with cannibalistic punks and medieval times wannabees while Great Britain is living hunky dory. That’s until the virus comes back for more. Solution? Send in hot pants Eden Sinclair (Mitra) and a group of well armed soldiers over the wall to find the possible cure. LET HER RIP!

You're going there? If there is such a thing as hell on earth, that's it. — Bill Nelson

Before writing this poor excuse for a review, I went and glanced quickly at other people’s thoughts on the film. I read “rip off”, “weak story” and even caught a 0 Stars ratings (even though positive stuff about the film was stated) from some high brow douche somewhere . One thing I didn’t see though was the word FUN written anywhere. I guess my definition of amusement doesn’t gel with the one of the masses now of late, because DOOMSDAY was one of the BEST TIMES I’ve had at the movies this year!

DOOMSDAY was a B-80’s vibed Post Apocalyptic gore-show action fest but with mucho coin in its jock-strap. Think ESCAPE FROM NEW YORK (right down to the anti-heroe’s eye patch) meets THE ROAD WARRIORS (the villain here even had a Mohawk). In fact, there are two characters in the flick named Miller and Carpenter. George Miller directed Road Warriors and John Carpenter of course tackled Escape from New York. So yup, DOOMSDAY was helmed by somebody who obviously knows the genre and has a deep affinity for it. The references were plentiful and for me they added to the overall enjoyment of the film. Like I always say; what some may call rip-off, others will call homage. In this case, I’m in the “others” category.

On its own, the flick was an energetic, visceral and balls to the walls ride that rarely stopped to develop its story pass the base yet alone be polite about shite. Yup, once its (déjà vu) set up established, the exploitation goodies rammed in so hard that the narrative somewhat got lost in the noise and splats. By Act 3, I was kind of cloudy as to the details behind the happenings but straight up that didn’t matter one damn bit. I was too occupied having a RIOT ACT with all the red wet messes, left field yuk-yuks and grisly bang-bangs to give a fudge. From its harsh prologue, its ALIENS-esque soldiers crash the scene and get attacked bit, to its ROAD WARRIORS —ish CGI less car chaos; DOOMSDAY put me through the fun-times ringer and I couldn’t get enough of it!

Marshalls definitely took the gloves off for this one. The gore was excessive, the humor shamelessly cruel (the more the film moved forward the funnier it got - loved that gimp-lol), the turns at times outrageous (next thing you know we're in Medieval times - gold!) and the whole merciless and relentless in its goal to kick our asses. It’s been a while that I’ve seen a film with so much balls and that wore them on its blood stained sleeve this proudly. In this day and age where a turd like AVP 2 is celebrated; yup, it was quite refreshing for this a-hole to see a movie like this one! Add to that Neil Marshall's firm and Amphetamine laced directorial style that was axed on eye popping spectacle, arresting costume/set designs and brilliant casting all around (Rhonda Mitra is now a new fav of mine) and you get an AWESOME time at the movies.

Look I love 80’s trash, I worship exploitation films, and I get-off on gore, action, guns and hot dames. That’s where I come from. DOOMSDAY gave me all that with panache, a un-pc stance and a FU attitude. Movies like this were MADE for me! THANK YOU DOOMSDAY!
Somebody asked for a large order of red grub with a side dish of mean spiritedness? YOU GOT IT! Pick-axe in head, severed limbs, slit throat, cut off heads, man burned alive, mucho gunshot wounds, head blasted in half by a shotgun and more!
Rhona Mitra (Eden) took her cue from Kate Becksingsale in Underworld but was more credible in the ass kicking department and for me much sexier. I was SOLD! Sean Pertwee (Dr. Talbot) did what he had to do with his usual class. Lee-Anne Liebenberg (Viper) was YUM and menacing at the same time. What a turn on! Craig Conway (Sol) stole the show with his violent and nutty performance. SOL ROCKS! Bob Hoskins (Bill) and Malcolm McDowell (Kane) did fine in their small roles. Adrian Lester (Norton) was credible, likeable and made the most of his role.
T & A
For the first time in my life, I wished I was a tub. Why? So I could’ve hosted actress Lilly Anderson’s luscious pair of breasts. We also get some buns and yes Lee-Anne Liebenberg’s (Viper) tongue flickering tendencies was hot!
Marshall hit this one out of the park via offering up stylish, heavy handed (loved that severed head that hit the camera) and totally wild action set pieces that floored me to the…well…floor! The atmosphere was oppressive, the pace clipped, the suspense on — no complaints on a technical standpoint. The man was on FIRE!
Tyler Bates put out a layered score that fit the many moods of the film. We also get some well used ditties like Spellbound by Siouxsie and the Banshees, Two Tribes by Frankie Goes to Hollywood and Club Foot by Kasabian (end credit song).
The Studio obviously didn’t get DOOMSDAY (can we spell under-marketed) and today’s teens or/and general public probably won’t either. But if like me you boogie to the genre films of the 70s/80s, the B Movies that took no prisoners and that reveled in being what they were with no apologies - then this loud, brash, gleefully brutal and often bleakly hilarious opus might be for you. It's funny cause all read is complaints on the "story" - for me, I was so engulfed by the non-stop anarchy on hand that I didn't really care. To each his own I guess! One thing’s for sure, I’M THERE if there’s ever a sequel.
The flick was shot in in Scotland and South Africa.

Outside of the obvious influences, Marshall was also inspired by Metalstorm (1983), Zulu (1964), Excalibur (1981) and Terry Gilliam films for Doomsday.

The flick was Marshall's first Studio film and was his biggest budget to date: 30 Million clams.