Tag Archives: Bob Hoskins



Directed and Written by Neil Marshall (The Descent). Starring Rhona Mitra, Bob Hoskins, Alexander Siddig, MyAnna Buring (also in The Descent), David O’Hara, and Malcolm McDowell.

“… maddening mash-up genre picture…”

“You know all those referential spoofs we’ve been getting lately… ? Well, Doomsday is like one of those, except played completely straight.”

This is the reasoning provided by the critics who are bashing Doomsday, which is currently at a 33% on Rotten Tomatoes; of course, that’s only after nine reviews. Well, I agree with their argument, but I disagree with their final conclusion: I thought Doomsday was a good blast of fun and excitement.

I went into this movie wanting to like it (I mean, Doomsday is a film by the guy that did The Descent, one of my favorite movies in the last few years), but expecting I wouldn’t, just from what I had seen in the trailers. I can understand people’s disdain for it – major problems with the plot, lack of focus, etc. etc., but I give credit where it’s due and it’s due.


Doomsday begins and is coupled with an infection story, similar to that in 28 Weeks Later, etc., but the infection/virus is not the focus. The story is about a really kick ass chick and some other dudes crossing into Scotland, which was quarantined; fighting some crazy people – a bunch of punks who are in a war with some even weirder dudes in a castle (I don’t want to give too much away); and then it gets more kick ass.

I truly enjoyed the mash-up of genre films like Road Warrior, Escape from New York, Resident Evil, something with knights; at the same time that the film was mashing-up these genre concepts, it was paying tribute without being a tribute film. For these reasons, Doomsday is a refreshing and unique apocalyptic film. In addition to all this mashing-up, Marshall creates an odd mix of action comedy, straight-up comedy, horror,straight-up action, thriller, and political commentary (the political commentary being much more prevalent during the first third of the film, or so).

Marshall does deliver some Descent-like suspense and motifs, but other than that, it’s a very different kind of film. Perhaps it’s problem is just how weird it is. Well, I appreciated it.

The best way to describe the final product is this: I wouldn’t say it hit its mark, but I wouldn’t say it completely missed it, either; it’s somewhere on the board, which is a board created by Marshall, himself, for this film.

If you hate it, you hate it. I won’t hate you for hating it. But I enjoyed it. The cast isn’t that bad looking, either.