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[Director] Marshall cribs whole sections from other movies (Aliens and The Road Warrior, most blatantly) so baldly that you have to wonder how he'd like it if someone ripped off The Descent this egregiously.
I still believe with all my heart that no movie with real car stunts, a tough-chick hero, and a severed head that thunks directly into the camera can be all bad. But this is pushing it.
Most fantasy-action films blow their budgets in the first half-hour, and limp home with their makeup smeared. Doomsday is unusually patient, smartly saving most of its fireworks for the later innings.
If you can accept this farrago of nonsense, and enjoy simulated beheadings and lopped-off hands and massive spurts and splashes of blood, this may be the movie for you.
Much as one might admire the British health care system as presented in the documentary Sicko, even Michael Moore would have to admit they have a hard time over there coping with apocalyptic viruses.
Doomsday is frenetic, loud, wildly imprecise and so derivative that it doesn't so much seem to reference its antecedents as try on their famous images like a child playing dress-up. Homage without innovation isn't homage, it's karaoke.
As it slogs through one hectic yet mundane set pieces after another, the film slowly drowns in its own pool of clichés.
Violent action flick paints a grim, bloody future.
One's enjoyment of Doomsday might stem from how much one admires a blatant homage to the 1980s.
Doomsday might seem novel - if you've never seen "The Road Warrior," "Aliens," "Escape from New York" or any other post-apocalyptic flick before.
... piles on the clichés and plot complications without adding anything interesting (let alone distinctive or memorable).
Apparently Marshall was munching on a serious dosage of Escape from New York pills when manufacturing Doomsday, resulting in not only a comatose actioner, but a derivative one as well.
Apparently, even the individuals behind the film recognize how redundant Doomsday is, going so far as to point out the far better examples it rips off in order to achieve its throwback tedium.
Forget about trying to follow the preposterous plotline of this insult to the intelligence, unless you want to laugh out loud.
Doomsday gives this tired genre a shot in the arm by playing it up with old school adoration.
A bit like a medley of greatest hits performed by a hot, young talent who brings a new vocal inflection to the tired, old standards.
Doomsday possède définitivement toutes les caractéristiques d'un film culte en devenir, même si celles-ci nous laissent toujours en tête une curieuse impression de déjà vu.
A tribute to the early 1980s anarchy actioners The Road Warrior and Escape From New York, Neil Marshall's Doomsday also blends elements from 28 Days Later for a fun and ultra-violent action-sci-fi-kinda-horror film.
Get your Mad Max mutant-maniacs-in-monster-machines on.
The movie doesn't disguise the fact that this is a loving homage to early 80's science fiction cult classics.
It's a mishmash of homages to writer/director Neil Marshall's favorite B movies. That doesn't make it bad at all, though; it ends up being quite entertaining.
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