Doomsday

Un conte d’action postapocalyptique dément qui se termine en parodie de Mad Max. Mais je ne le qualifierais pas de navet pour autant : tout le récit est relativement inventif, bien délirant et déjanté et Rhona Mitra impose le respect avec son œil de cyborg. Et puis, une fois n’est pas coutume, on a le privilège de voir Bob Hoskins jouer un rôle de gentil ! Il est évident que les créateurs avaient préparé le terrain pour un deuxième volet, mais on dirait qu’il ne verra jamais le jour. Dommage. (14/11/2021)

Le conglomérat de B-movie vu cent fois, sans la moindre idée, avec des scènes d'action incompréhensibles et des personnages plats. Plus Neil Marshall se déplace dans un espace plus grand - que ce soit comme scénariste ou réalisateur - plus c'est un échec. Doomsday est son film le plus ambitieux. (13/04/2008)

Of course, the editing is at medium (at least), and it's alarming that the director can't work with such trivial prototypes of the characters he prescribed, but I really enjoyed the structure of the film, which is not stupid at all - it's even playful and reflected. It is a combination of computer game fields (de facto 3 distinctly stylized maps - realpolitik London, punk Glasgow and the medieval Highlands) with a plot of descent into the heart of darkness (including highlighted moments of "transitions" of space-time zones - a steel gate, a steam train and a tunnel under the hill). To take it apart a little more seriously: on the one hand we have pragmatic politician-dominated London, in between an anarchist zone of pure libido and uncontrolled instincts, and on the other hand the "science and intellect" spectrum, which has degenerated into a dark tyranny of the enlightened mind. In the meantime, the protagonist cheerfully surfs, does not negotiate a world remedy and returns to where the whole film belongs - to the cheerful, decadent and entertaining-cannibalistic level (by the way, if the action sequences are edited shitty, the cannibalistic pop culture feast is brilliant!). The order of politicians is corrupt, the scholars have gone mad, so the slightly mutilated Rhona Mitra is one of the raffish Scottish punk and anarchists. No great salvation. I'm very sorry that a second film won't be created, where the suits will fight the enchanted cannibals in kilts. For a long time now, no "childish revolt" had amused me as much as the purposefully naive anarchist rebel Doomsday (a luxurious shiny Bentley vs. Mad Max wrecks... a steaming crowd waiting for a ration of human flesh with plastic plates... like WTF? This is simply brazenly stupid and not superficially stupid). Marshall simply serves declining entertainment without pretense - human meat is grilled to the sound of pop hits. Oh yeah. (14/10/2012)

It's as if Neil Marshall is making fun of the whole world. He's got a lot more money than he's used to and he's totally off the rails. There's a lot of gloriously uncompromising violence, badass one-liners, and a perfectly cracking atmosphere. It has its charms and you can tell it doesn't take itself seriously at all, but unless you grew up on Escape from New York and watch Mad Max twice a year, it's probably not going to work for you. The editing could be less chaotic. (03/04/2008)

Lacking any sense of proportion, common sense, and higher filmmaking ambition, Neil Marshall commits the craziest cinematic theft on the m2 film box. But he also damn well entertains us for a hundred minutes, lecturing at the High School of Grindhouse in a latex suit, punk haircut, and sword in hand, in a distinguished British style. Hopefully someone will attend the class and learn something. (08/05/2008)