Doomsday: Critic Reviews

[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.

Marshall reveals himself to be a terrific showman of chaos and comic savagery. This is Baz Luhrmann's Mad Max.

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.

Those with a taste for revved-up, splattery fantasy thrills won't be complaining.

Imagine the first serious competition to the Deutsche dummkopf Uwe Boll as "worst director" working today, thanks to this mad and maddening mash-up genre picture.

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.

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.

As it slogs through one hectic yet mundane set pieces after another, the film slowly drowns in its own pool of cliches.

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.

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 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.

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.

Brimming with exploitation antics, grindhouse sensibilities and, heh heh, exploding bunnies, Doomsday conjures a future thrown back to the dead-end styles and amoral excesses of the eighties - and no future could be bleaker than that.

spintati pseytokaltia, poy o,ti yposhetai sto dinei aplohera

When the film's unspooling and we're watching Rhona Mitra drive a sports car through an exploding bus, we find ourselves in movie geek heaven.

After they blow a bunny to smithereens (aiming straight through a plot hole), I knew all bets were off.

The only thing that saves Doomsday from complete disgrace is that it knows it's trash.