Martin was a normal teenage boy before the country collapsed in an empty pit of economic and political disaster. A vampire epidemic has swept across what is left of the nation's abandoned ... See full summary »
In the year 2019, a plague has transformed almost every human into vampires. Faced with a dwindling blood supply, the fractured dominant race plots their survival; meanwhile, a researcher works with a covert band of vamps on a way to save humankind.
A lethal virus spreads throughout Scotland, infecting millions and killing hundreds of thousands. To contain the threat, acting authorities brutally quarantine the country as it succumbs to fear and chaos. The quarantine is successful. Three decades later, the Reaper virus violently resurfaces in London. An elite group of specialists, including Eden Sinclair, is urgently dispatched into Scotland to retrieve a cure by any means necessary. Shut off from the rest of the world, the unit must battle through a landscape that has become a waking nightmare. Written by
Despite having many dangerous choreographed stunts, only two went wrong. A motorcycle rider was dragged when he meant to roll safely aside. He was not injured. Another was the man whom Sol punches in the face on the train platform; on a second take of the scene, the stuntman's nose was broken. See more »
During the PM's brief, during which the contingency plan to isolate "All of London north of the river" is outlined, a map of London and the flood barrier is shown. Judging by the scale (approximately determinable by the readily recognizable kink in the Thames), the barrier only goes as far north as Hackney, and thus is isolating maybe 20-30 square miles out of the 600 or so square miles of London. See more »
Like so many epidemics before, the loss of so many lives began with a single microscopic organism. It's human nature to seek even the smallest comfort in reason, or logic for events as catastrophic as these. But a virus doesn't choose a time or place. It doesn't hate or even care. It just happens.
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It's April 2008, and a sudden viral outbreak has hit Scotland hard. To contain the deadly bug (dubbed the Reaper Virus), the British government works quickly to build a containment wall around the afflicted country. The possibility of the disease spreading to the rest of the world appears to have been effectively stopped in it's tracks. Fast forward 30 years and the virus has reappeared, this time in London. Satellite monitoring has picked up images of apparent survivors in the hot zone, which leads the government to suspect the potential for a cure. Desperate to put an end to the reborn plague, the Brits send a team of soldiers into the walled off country in the hopes that they can find the cure that may not even exist.
The third feature film from British filmmaker Neil Marshall. I thought this was a fun time at the movies, but don't expect anything new here. Doomsday is a pure love letter to Escape From New York and the Italian post-nuke films of the 80's. There are homages all over this thing, and I would like to think that I caught most of them. Hell, even Nightmare City seemingly gets a nod with the look and behavior of the infected. Watch the scene where one of the infected axes his way into Hatcher's compound and see if Lenzi's trash classic doesn't come to mind. Marshall knew what he wanted to do with this film, and he does just that. I have to admit, it was somewhat surreal watching such a film on the big screen, particularly the extended Sol/feast scene, which gets pretty nutty.
Rhona Mitra plays the team leader of the squad sent into the hot zone. She's a gorgeous woman with a killer accent, but she also comes through as a believable action star. I've long been a fan of her's, so it's nice seeing her get a role like this. Craig Conway is warped as the over-the-top Sol, but he lacks menace. He did get me to hate him, but that had more to do with the fact that I found him annoying. The considerable talents of Malcolm McDowell, Bob Hoskins and Alexander Siddig provide solid support despite what little they have to work with.
My biggest gripe with the film is the wall to wall use of music. It seems like there's never a scene that doesn't have some form of music blaring, and that becomes tiresome. A little more subtlety in that area would have been most appreciated. Also, some of the scene transitions feel awkward, and the film itself feels quite rushed. We don't get much down time or quiet moments, it's all very busy.
Still, I must admit that it's decent fun. Original? No. Flawed? You bet. That aside, if you have a certain affinity for this brand of entertainment, you should eat it up. And for the record, I'll take this one over The Descent any day. Mitra puts the wannabe badasses in that clunker to shame.
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