Have you ever watched Escape from New York and thought “Wouldn’t it be cool if Snake Plissken was a British woman?”
I am intrigued, tell me more.
Okay, so Doomsday is nothing original. But it does it with gusto. It is essentially a mash-up of a whole pile of classic post-apocalyptic movies from the 1980s, but British.
At least my spandex is all black, no cammo.
We follow one-eyed badass Eden Sinclair (Rhona Mitra) into a rescue scenario in said post-apocalyptic wasteland, time limit to get back, medical emergency, malevolent government forces… etc. Other than some seriously underwhelming skeletal remains (seriously, guys, who dressed your set? It looks more like the Nightmare before Christmas than a doomsday scenario) and some somewhat preposterous costumes (where DO you get plastic skeletons, gimp suits, and hair dye after the end of the world?), the movie has some real pluses.
First, I liked seeing a tight-lipped female lead. She doesn’t talk about her feelings, she doesn’t fuss with her looks, she just goes in and gets the job done, Plissken-style. She does not share her plans with her (mostly doomed) compatriots, so the audience gets pulled into the action – you actually don’t know what will happen.
Second, I liked that the film set out to be an homage from the start. It shamelessly pillages and maintains the same campy style of its sources; it is not trying to reinvent the genre, but it does get some new laughs and winces. Style-wise, it pulls from some punk and somehow shoehorns in some Medieval Times (no joke), because how else would you dress in Scotland after the end of the world? The ending is also particularly good.
Good might be the wrong term here.
Finally, again, this one is on Netflix, so it’s worth a watch if you are in the right kind of mood.