the Color of Context

Doomsday: The end is nigh–at least for NM’s winning streak
Release date: 14 March 2008
By Joe DeRosa

Doomsday is a fun movie. And by fun I mean, lots of action, lots of blood, a couple of beheadings and a female lead whom I truly believe would kick my ass. The problem with Doomsday is that it’s written and directed by Neil Marshall. Now that might sound like a dig, but it’s not. With Marshall’s first two feature films, I was captivated. Whether it be his modernization of the werewolf-film genre in Dog Soldiers (2002) or the strong characterization in The Descent (2005), I really got into it. Doomsday, for me, would have been more enjoyable–just as it was–had it been done by someone else. I guess what I mean is, Marshall has set the bar high, and Doomsday just didn’t reach it.

The storyline revolves around wars, and the people of Scotland find themselves face to face with the most frightening enemy of all–a deadly virus. As the narrator points out, this kind of foe is neither good or evil: “A virus doesn’t care. It just happens.” The virus spreads through Glasgow “like a common cold.” People are told to stay in their homes and wait for help, which never arrives. Instead, the British government quarantines the infected by erecting a giant, impassable wall. The abandoned citizens within are left to die and watch helplessly as their “social order decayed along with the bodies.”

Fast-forward to London in the year 2035. The “Reaper” virus is back, prompting the government to reveal a shocking truth that has been swept under the rug until now–survivors have been discovered inside the quarantine. Which can mean only one thing: There must be a cure. A select team of covert operatives, led by Eden Sinclair (Rhona Mitra), is sent inside to recover this cure. They’re instructed to start with the lab of Dr. Kane (Malcolm McDowell), the scientist who had all but spearheaded the search for an antivirus.

Toward the beginning of the movie, I felt like it was rehashing all of the post apocalyptic films circa 1980. Then I noticed Marshall’s nods to some of those films, notably the stylized makeup identical to that worn by members of the “Furies” in The Warriors (1979). Or the souped-up road chase a la Mad Max (1979). And I got it. Like in Dog Soldiers, Marshall was paying homage to a forgotten genre. Once I realized that, I started enjoying the movie for what it was.

Then it made the transition from ganglands to gladiator. And if I had one complaint with the movie, it would be this: Just as I was accepting the movie for what it was, it changed up on me. When our protagonists got themselves out of the post apocalyptic, war-wasted city to travel to the other side of Scotland, I suddenly felt like I was watching a time-travel movie, complete with knights, castles, bows and arrows, a king. . . and oh yeah, a 2008 Bentley. Yes, I’m serious.

There are some noteworthy performances, the first being Mitra. She makes this movie. I love a strong female character who looks muscular enough to hand it to me but still sexy as hell. (I can do without the removable camera eyeball, though. And yes, her character, Eden, has one.) I also happen to think that this is Bob Hoskins’ best character since he costarred with a rabbit.

All in all, the film was enjoyable. But I have to say I’m torn, because I love Marshall; I only liked Doomsday.