Every village has a doctor, some villages need heroes.
2008, Scotland, hitchhiker’s paradise, falls victim to the deadly, “Reaper Virus”. Barred from all sides, by a gigantic metal wall, highlanders are forced to die amongst their friends and their foes. Those who managed to survive the hot zone would be burned alive, their corpses fed to the hungry; in a matter of weeks, loneliness and starvation is enough to drive the survived mad.
2033, more than two decades later, Scotland, now a decrepit wasteland, is resolved to a puréed cloud of ash and dust. Eradicated from humankind, the virus lays dormant, paranoia’s are momentarily subdued, that is, until an outbreak resurfaces, its primal target, London.
Deep within the Burroughs of London’s criminal underground Major Eden Sinclair (Rhona Mitra) is stealthily at work in the midst of a crime bust – eyes at the ready, gun cocked, ruthless for the sake of justice. Livid after her partner’s unforeseen casualty, she smokes tangentially, constantly wrestling a tormented past, a mother’s sacrifice, her existence. Hours later, she’s called upon to return to a place she once called home. Now, Eden has to race against time to save humankind, flying above the chaos, out of the hot zone, and into a land where death lays in waiting. A lively echo, “Doomsday” reverberates the tentative, yet archaic, relationship that has encapsulated both Scotland and England for centuries.
Writer and Director, Neil Marshall, has created a stellar piece of moving art.
Dually, he decorates the plot with historical anecdotes and cultural viscosity. For the ‘Reaper Virus’ embodies a current tension, one, between Scotland and England, that erupted from angst and is riddled, in this case, with death. Flash forward twenty five years into the future, the elements have changed, but the current remains the same. Eden fights for law and order. Sol (Craig Conway), a leader amongst a band of Scottish outlaws, fights for chaos and an independence greatly deserved yet horribly attained.
Yet underneath her armored exterior, Eden unearths a sordid truth. Returning to her homeland, she is unleashed, breaking the rules without consequence because out there, there are no consequences.
Her partner in crime, Norton (Adrian Lester) remains fastened to her side without question, even in the heat of combat. Burdened on her quest for freedom, she rescues Cally (MyAnna Buring), a trustworthy companion. Her adventure into the unknown brings forth an even greater mystery. Kane (Malcolm McDowell), the last doctor known to develop a cure, now delegates a religious oligarchy, debasing outsiders to create widespread fear on the grounds of moral retribution. Eden’s last resort then, is to fulfill Prime Minister Ritcher’s (Alexander Siddig) desperate request: return with a cure, no matter the cost.
A propeller in constant motion, “Doomsday” fascinating is a feature. Incredulous chase sequences leave viewers gripping the edge of their seats ready and waiting for the next action packed sequence. Granted, Marshall’s script doesn’t labour on just guns and glory alone. Plagued by a subtle hunger, Sol’s antics are paralleled against Eden’s desperate urge to rectify the remnant memories of her deceased mother.
Pierce through the flame broiled explosions to reveal a story about love hath lost and the magnetism of power in the absence of regret. A superfluous script accompanied by incredulous lead performances; for the haz mat suit inclined, “Doomsday” is a worthy keepsake.