An obvious tribute to John Carpenter & George Miller, Doomsday avoids the pitfall of being too one-note, but tends to feel rushed & inconsistent. Rhona Mitra owns the screen as the badass protagonist. Unfortunately, none of the villains are as believable. Tyler Bates' score is almost too good, but the licensed music falls flat. Overall, a flawed but campy good time thanks to its unexpected variety & fun, gory action.
Pretty much everything is stolen. The story and acting are flat and strangely silly. But despite a clumbsy editing it has energy and makes a looot of fun, not only because of it's soundtrack, but also by some sort of sarcastical view on the dystopia, which the movie itself does not take seriously, i guess.
Occasione sfruttata a metà per il grande Neil Marshall.La prima parte,smaccatamente carpenteriana,regge abbastanza pur con un plot stra-abusato e crea le premesse per uno sviluppo originale. Purtroppo la seconda parte cala drasticamente,diventa un Mad Max ancora più trash e si butta tutto in una caciarata esagerata( vedi inseguimento di sette ore).Personaggi piattissimi,storia che mano a mano si perde...peccato
Trashy and it knows it. Overblown and scatterbrained in its mash-up style and frantically all over the place, Doomsday is pure party-film exhilaration. The sum of its influences-- the sci-fi action of Mad Max, the cool of Escape from New York, Quentin Tarantino-style excess, and even medieval/gladiatorial elements-- thus putting a smile on my lips. I wanted a bit more development at times, but this is great cheese.
Unashamedly OTT, Marshall revels in his exploitation influences from Road Warrior to THE Warriors via a dose of Cannibal Holocaust with some Pulp Fiction thrown in for good measure. Pure and utter trash which is exactly what I wanted from this film, toppin' stuff!
I realize this movie isn't great, it's got problems, but boy do I have fun with it anyway, it's probably the only movie in history to stage a MAD MAX style car chase set to music by Frankie Goes to Hollywood. It's a John Carpenter/George Miller mash-up that's lots of fun if you can get past its occasional fanboyish tendencies.