Doomsday

MANY directors like to use scenes in their movies to pay homage to the classics that have influenced them as a filmmaker.
But, unless you are Quentin Tarantino, if you take this idea as the foundation of your story, it is bound to fold in on itself and lose focus.
Doomsday is a case in point. To name but a few, the film pays tribute to 28 Days Later, Mad Max 2, Escape From New York and Aliens and even incorporates some whimsical fantasy elements.
But director and writer Neil Marshall has paid so much attention to his influences that he seems to have left out any room for any character development or cohesive plot.
It is the story of a dystopic near-future where a deadly virus breaks out in Scotland. The Government’s only answer to the problem is containment and after a gigantic wall is constructed, the country is considered a dead zone.
But when the same virus breaks out in London decades later, an elite squad (including British B-movie legend Sean Pertwee) is sent to Scotland hoping to find a cure, only to stumble into a war with the savage, cliched survivors.
The trailer looked so absurd that it could be great...but sadly this was not the case.