Despite a name that raises a skeptical eyebrow, 'Dog soldiers' is a fantastic action-horror flick. Much more than that, 'The descent' is surely one of the best horror films ever made. Hot on the heels of these early successes in his career, and given a significantly larger budget, what would filmmaker Neil Marshall do next? For one thing, he would hire some very noteworthy actors; Bob Hoskins, Malcolm McDowell, and Alexander Siddig are no small get. In fashioning a dark dystopian sci-fi action piece as a violent, bloody joyride, something made clear if we read anything at all about the production, he would also draw upon very obvious influences. From the outset we see notes of contemporary zombie fare (even though this isn't about zombies), and that's a sliver compared to the heavy inspiration taken from John Carpenter's 'Escape from New York' and 'Escape from L. A.,' with healthy doses to come of George Miller's 'Mad Max,' too, and more. With all this firmly in mind: watching for the first time seventeen years later, at a time in real life when one global pandemic just hit its fifth anniversary, another isn't far from breaking out, and some very wealthy and corrupt people are intent simply on harming as many as they can in any way they can while abandoning science and medicine - how is 'Doomsday,' actually?
It must be emphasized again how incredibly substantial the influences are, chiefly those I've already mentioned, but a lot more where those came from. Those prior works are all over Marshall's feature; the screenplay is saturated with them - from the plot to individual scenes, to characters, and even bits of dialogue - and so are the aesthetics. Mind you, it's definitely not as if the man is copying Carpenter, Miller, Walter Hill, Kevin Costner, and others note for note; even setting aside the additional infusion of medieval elements, don't fall into a trap of thinking this isn't distinct and original. Rather, it's that Marshall clearly loves these titles with all his heart, and 'Doomsday' is partly a love letter, and partly an effort to follow in the same footsteps. Happily, I think he roundly succeeded, and with flying colors. One can very well see where the budget went, because the costume design, hair, and makeup are flavorful and intoxicating, in my opinion surpassing the production design and art direction which are already rich with detail and imagination. We're treated more than not to real stunts, fight choreography, and practical effects including significant blood and gore, and these are all excellent without fail; where computer-generated imagery is employed it is sparing enough that it holds up well even after all this time (at that, looking better than some brand new releases of the 2020s). I appreciate the care for lighting, too, and while the cinematography doesn't make a major impression, there's not much arguing that on a fundamental level this is very pretty, which also says a lot about the filming locations in Scotland and South Africa.
Meanwhile, as Marshall had already handily demonstrated with his first two projects, he knows quite well as a director how to orchestrate shots and scenes to achieve maximum impact, even when our senses are being fairly consistently assaulted. True, the filmmaker isn't perfect; there are moments here that are self-indulgent and unnecessary (such as the rabbit, or much later, the car) or which may have benefited from a smidgen more restraint and deliberation (e.g., the last time we see Siddig's prime minister, or some of the CGI embellishments). But such instances are a far cry from the negligence illustrated in far weaker and more recent endeavors like 'The reckoning' or 'The lair,' and it is much more the case that even as action sequences are brutal and hard-hitting, Marshall shows a sense of style and even nuance to help them hit all the harder. Among other things this helps many aspects to stand out and have impact on their own merits despite obvious cinematic parallels, and for the whole to remain steady and vibrant even in those rare moments when we might expect the energy to die off some - and for the entirety to even be fun, with a sense of adventure about it, despite the inescapably grim nature of the material and the visions to greet us. To that same point, Marshall's solid direction allows the cast to shine with very physical, spirited performances of zest and vitality. This goes even for those AAA names and faces, even as their roles are more conventionally dramatic, and certainly for Rhona Mitra, starring as Snake Plissken stand-in Eden, and other core supporting actors like Adrian Lester. I do wonder, though, if it's not the case that the main cast aren't rather outshone - in this case by Craig Conway, gleefully chewing scenery as wild, vicious Sol, and possibly even more so by Lee-Anne Liebenberg in her still smaller part as Sol's lieutenant Viper. Creative character design and vivid performances can go a long way, and like Élodie Yung in 2009's 'Banlieue 13 - Ultimatum,' Liebenberg pops out with invigorating fervor. That's a high compliment for an actress who isn't especially visible on a global stage.
All this is to say nothing of some cheeky, delightful use of popular songs on the soundtrack, nor Tyler Bates' original score which exercises both rock sensibilities and more straightforward dramatic themes. From the harsh cold open that nevertheless manages to carry some meaningful emotional weight, through every blast of violence including a hyper-charged climax, to a wry, satisfying ending, this manages to boast more variety and heartier entertainment than I'd have supposed from the premise, or from what I read of it beforehand. Again, it bears repeating that Marshall wears his influences on his sleeves, but it's all in pursuit of a raucous good time. This is well made in most every regard, and it definitely delivers on that good time; what more can one ask for? Personal preferences will vary and this won't appeal to all comers, nor carry equal favor for all comers. I just know that I sat hoping to enjoy myself, and at length, I very much have - just what I needed, and more than I would have expected. One should be fully aware of the level of carnage on hand, to say nothing of the ugly themes and ideas in the writing, but so long as these are no obstacle, 'Doomsday' really is a minor gem that fits neatly alongside the filmmaker's early works, and I'm happy to give it my high and enthusiastic recommendation!
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