Doomsday

Pretty much sums up the end of Neil Marshall’s critically acclaimed reputation.

DETAILS:
Released - 9 May 2008
Certificate - 18
Running Time - 108min
Director/Screenwriter - Neil Marshall
Producers -Benedict Carver, Steven Paul,
Cinematography -Sam McCurdy
Editing - Andrew MacRitchie and Neil Marshall
Music - Tyler Bates
Theatrical distributor - Universal
Country - UK




SYNOPSIS:
In 2007 a massive epidemic breaks out over the British Isles killing hundreds and thousands of innocent people. In response the authorities forcefully quarantine Scotland by renovating Hadrian’s Wall. But by the year 2035 the lethal ‘reaper virus’ begins to resurface. As part of a top secret plan; prominent politician Bill Nelson (Bob Hoskins) sends Eden Sinclair (Rhona Mitra) with a team of specialists through the wall to seek out Kane (Malcolm McDowell) who according to legend may have the answer to the cure. Without any back up on their journey they embark upon a whole host of bitter, abandoned and blood thirsty survivors.


REVIEW:
Writer and director Neil Marshall has been a gem to the British film industry. With his debut Dog Soldiers he rejuvenated the werewolf movie and popularised it again. But he came into his element two years later with The Descent. A terrifying claustrophobic gory thriller he was immune from the difficult second album syndrome as it was far better than his first. Critically it was one of the best horror movies in recent years. So having made a reputation for himself in the horror genre for his third feature he has been able to get his hands on a huge budget and have much fun with a British action movie. The film’s opening is certainly promising. A brutally graphic quarantining of Scotland which creates a sense of horror and panic sets the tone and a subsequent action sequence on a boat has some inventiveness to it.

When the characters initially get through the wall dark there is a brief spooky atmosphere and mild tension, as the events begin to set themselves up we sit back and prepare ourselves for some Marshall type action. But before long it becomes increasingly apparent how this is not derivative but a purely copied or borrowed cinema. If this was a piece of schoolwork it would be dismissed as plagiarism. Escape from New York, Aliens, Mad Max, Land of the dead, 28 weeks later are but a few titles he has cherry picked his favourite action scenes from. There is no coherent developing plot. As soon as Rhona Mitra goes through the wall her and her crack team operatives appear to travel on a journey of rehashed action sequences from other films. The film is just ridiculously action packed, it does not stand alone as a single piece of work just a series of disjointed action sequences and something that would not exist if were not for past great directors. It appears Marshall has put the entire budget in big explosions and spent his time going through his DVD collection rather than spending time, effort and money into anything worthwhile. His talent for direction is clearly apparent, but there is little point in it. There is no tension, progression or any chills which has made Marshall so previously successful. He has chosen to ignore all this and produced some clear nonsense. A car chase which seems to be directly lifted from Mad Max Beyond the Thunderdome with the ineffective Frankie Goes to Hollywood’s when two tribes go to war thumping in the background is just as hilariously camp and stupid as the end where Eden decides to return to the tribe that almost killed with their old leaders severed head as Kasabian's Club foot blurts out. This makes little sense or much emotion and is forgettable rather than cutting edge

There is also something about Rhona Mitra’s Eden which is deeply unbelievable. As she progresses through her horrendous ordeal she still remains to look gorgeous. Her supporting cast are also guilty of severe overacting. The dialogue itself has to charm or wit, it is just obvious and clunky, full to the brim with meaningless swear words with a severe lack of emotion or substance. Every one liner deserves a subsequent drum and symbol to add to the blunt obviousness. Malcolm McDowell and Bob Hoskins play their typical roles. McDowell’s voice emphasises the stresses in words and Bob Hoskins rugged, blunt language and accent seem to help him win political debate. The film is full of ludicrous stereotypes, such mediaeval Scottish punks and London southerners with up to date technology is really silly. With a whole circus of annoying characters by the time the Prime minister shoots himself no one seems to care.

Marshall has brought an end to his winning streak and is one in a long line of filmmakers who when it came to making their dream movie, such as Paul Andrew William’s The Cottage or Peter Jackson’s King Kong, it was rubbish. Hopefully his talent for filmmaking has not been tarnished with what he truly wanted to do. We understand it is supposed to be tongue in cheek action cinema that is not supposed to be taken too seriously but it just far too tedious and stupid to be regarded as a fine piece of work.

TO SUM UP:
The pioneer of modern horror should stay away from big budgets and use his inspiration to make original features which he has done so well in the past. Hopefully this feature will be a short and sharp shock which will keep him sticking to what he does best with low-budget horror.