Back in 2008, the uncontrollable and utterly devastating Reaper Virus smites Scotland, claiming thousands of innocent lives, and inevitably, putting the land in quarantine. However, almost three decades later, in 2037, the lethal virus manages somehow to re-emerge, and as a result, the Prime Minister summons a team of disposable heroes led by Major Eden Sinclair to retrieve possible survivors, and hopefully, a radical cure. But no one really knows what horrors remain hidden deep within the scorched and unstable quarantine zone.
A futuristic action thriller where a team of people work to prevent a disaster threatening the future of the human race.
Your reception of the movie depends on two things. Your expectations and foremost your will to overlook a few faults/mishaps this movie does offer.<br/><br/>But let&#39;s not start with the bad things. There is the wonderful Rhona Mitra playing the main character here and she does so, making carrying a movie looking very simple! While the other actors are mostly at least good too (for a campy movie like this), as crazy as the story is, you&#39;ve seen the turns and twists before. Many things are decent, but most of all there is no great No.1 villain the movie concentrates on. In this case it does backfire a bit (for me). Again, if you can block out these thoughts, you might like the movie quite a bit more than myself.
OK… where on earth to begin with this… *Warning - Entire &quot;plot&quot; spoilers ahead* The year is 2008, the place is Scotland, and the plot might as well have already run out. The reaper virus (so generically named it physically pained me a little) has infected the majority of the population of the British country, leaving the wretched victims looking as if they have head-butted a swarm of cartoon bees. No time for explanations though, there&#39;s way too much gratuitous violence planned to waste time on such trifling inconveniences as &#39;plots&#39;.<br/><br/>So, they fence off Scotland (an entire country!) with a massive iron wall, erected so quickly that not a single person had a chance to escape (yeah, I know…). Thirty years down the line, a girl who rolls her false eye around corners to see bad guys before popping it back in without fear of infection is blowing people away on a ship for some reason. Her colleague stumbles across a woman sitting butt naked in a bath tub (as you do on a filthy old tanker), solely for the sake of nudity. After much blood and death, we have one of many brief scenes with Bob Hoskins, presumably filmed without his consent (I&#39;d rather believe that.) Eventually, our &#39;heroes&#39; head into Scotland in search of renowned scientist Kane in two armoured battle tanks, impervious even to &#39;chemical weapons&#39;. These are quickly destroyed by 80s punk rock savages armed to the teeth with a devastating arsenal of sharp sticks and rocks.<br/><br/>When taken back to their painfully tacky rock amphitheatre, where barbaric acts of cannibalism are complimented by a delightful highland fling courtesy of kilt-clad cronies, Eden (the female lead) meets a woman claiming to be the daughter of mission target Kane, while also the sister of Sol, the leader of Duran Duran&#39;s lost groupies. This isn&#39;t expanded upon in any way, the interaction between these family members could be generously described as minimal, and before you can even attempt to work out just why the hell they even bothered, we&#39;re escaping on a steam train that not only works in a country cut off for thirty years, but just happens to be waiting at the station nearby, complete with an accomplice so generic that the ten minute countdown to his demise may as well be stamped on his forehead.<br/><br/>After running through a pitch-black tunnel stuffed with hundreds of unopened crates, they end up in a forest where they&#39;re ambushed by knights.<br/><br/>… Yeah, actual knights. After carelessly dispatching aforementioned generic accomplice, they then lead our intrepid adventurers back to their castle, where the extras from the first series of Blackadder are apparently staging a reunion. They meet Kane, who babbles a bit before deciding, in a continuing trend of pointless clichés, that Eden should face an enormous, armoured warrior in a Gladiator-esquire confrontation. Obviously, considering she has no weapons or armour, she wins, leading to the castle inexplicably beginning to explode and the remainder of the gang making their escape once again.<br/><br/>Back in the tunnel, they turn on the auxiliary power (which nobody has thought to do, and which still works) and open a crate. Out of literally hundreds of crates, the first one they open happens to contain a pristine Bentley. Ho-ho, I hear you cry! What use would that be? The tyres would be rotten, it would have no fuel in it, the battery would be flat, such an expensive car would be locked, and even if it wasn&#39;t, they don&#39;t have the keys… So, next scene, they&#39;re driving the Bentley along a fantastically conditioned highway, fiddling with the mobile phone Eden found conveniently stored in the second and last of the hundreds of boxes in the tunnel she opened (which also works perfectly), when the 80s punk rock savages turn up on the vehicles deemed too ridiculous to feature in Wacky Races and a chase begins. Obviously, these clapped out rust-buckets easily keep pace with a top of the range Bentley, and also inexplicably have fuel, battery and tyres to set up the most hilarious car chase since the A-team was in its prime. It&#39;s just cars hitting each other and exploding for no real reason. The Bentley is rammed countless times, yet remains in immaculate condition throughout. After a confusing final fight which looks like the cameraman sat in the back seat of the car and just spun in circles for five minutes, the Bentley drives through a parked bus, which also inexplicably explodes, leaving the still spotless uber-car to drop off the survivors for a final utterly redundant plot device.<br/><br/>If you can see this movie for free it is genuinely hilarious for those of you who, like myself, enjoy tearing crappy movies to pieces and can accept you will never see those two whole hours of your life ever again. The appalling acting, unfathomable plot and fantastically random explosions, offset by the gratuitous gore makes this film worth a go. I would not, however, advocate paying £7 to watch this festering excrement of a flick… also like myself (but I hide the bitterness so well!)
Marshall delivers what he promises and Mitri makes for a cool, kick-arse heroine in the Ellen Ripley mold.
Thirty years after Britain successfully walled off Scotland to contain the spread of the Reaper virus, a particularly lethal virus that has infected millions, England is devastated to find that the virus has popped up again in London. Consequently, Major Eden Sinclair (<a href="/name/nm0593961/">Rhona Mitra</a>) of the Department of Domestic Security is asked to lead a team of operatives into the quarantine zone to find medical researcher, Dr. Marcus Kane (<a href="/name/nm0000532/">Malcolm McDowell</a>), who was last known to be working on a cure …that is, if they can survive the survivors who have taken over Scotland. Doomsday is based on a screenplay by British screenwriter Neil Marshall, who also directed the film. Sinclair, Ben Stirling (<a href="/name/nm0604418/">Darren Morfitt</a>), and Cally Kane (<a href="/name/nm1769728/">MyAnna Buring</a>) are intercepted by a gunship carrying the new Prime Minster, Michael Canaris (<a href="/name/nm0641244/">David O&#39;Hara</a>). He asks for the cure, and Sinclair produces Cally, explaining that she is immune to the virus and that they can use her blood to make a vaccine. Canaris informs Sinclair that he has no intention of producing the cure just yet. He would rather withhold it until such time as the virus has killed off the infected as a form of population control. Canaris invites her to come back to London with him, but Sinclair chooses to remain in Scotland and look for her mother at the address written on the note. Sometime later, Nelson uses that address to fly into the quarantine zone and locate Sinclair. She tells him of Canaris&#39; plan and gives him a recording she made with her artificial eye of their conversation, giving Nelson all the proof he needs to bring down Canaris. In the final scene, she returns to Glasgow where she tosses Sol&#39;s (<a href="/name/nm0176660/">Craig Conway</a>) head to the punk cannibals, saying, &quot;If you&#39;re hungry, try a piece of your friend.&quot; Realizing that Sinclair has defeated their leader, they begin cheering her as his replacement. The film gives three possibilities: (1) She stayed to look for her mother, (2) she stayed because she knew the hot zone was free of the virus but that London would soon be raging with it, and (3) she stayed to build an army amongst the punks to protect her should Canaris come looking for her. Crowd parties at Sol&#39;s show - &quot;Dog Eat Dog&quot; by Adam and The Ants.<br/><br/>Sol dances onstage with strippers - &quot;Good Thing&quot; by Fine Young Cannibals.<br/><br/>Sol dances onstage with men in kilts - &quot;The Can Can&quot; by Ariel Rechtshaid.<br/><br/>Talbot is brought out to the crowd - &quot;Spellbound&quot; by Siouxsie and the Banshees.<br/><br/>Sol&#39;s gang chases Sinclair, Stirling, and Cally on the road - &quot;Two Tribes&quot; by Frankie Goes to Hollywood.<br/><br/>End credits - &quot;Club Foot&quot; by Kasabian. The film&#39;s theatrical cut was rated R by the Motion Picture Association of America (MPAA). Later, an unrated version was released on DVD and Blu-ray disc, adding more story to the film.
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