[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.
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.
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.
Doomsday typifies the kind of movie that gets dumped into theaters during the late winter -- a regurgitated storyline, no big stars, and no real prospects at the box office.
Marshall's mash note to '80s postapocalyptic action-adventures re-creates the era's trashy pleasures with such scrupulous fidelity -- and distinct lack of irony -- that you'd swear the movie was unearthed from the ruins of a Times Square grind house.
Doomsday possede definitivement toutes les caracteristiques d'un film culte en devenir, meme si celles-ci nous laissent toujours en tete une curieuse impression de deja 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.