Script Review of Neil Marshall’s Doomsday

The boys over at Latino Review has gotten their hands on the script for Neil Marshall’s upcoming sci-fi/action/horror movie “Doomsday” (gotta love the genre hybrids), and they’ve done a review of it. You can read the full thing here, or just read the quick bits below. The film is set in Europe, or Scotland and England, to be more specific. The virus (with shades of “28 Days Later”) begins in Scotland without warning, forcing England to quarantine the entire country with a giant friggin’ wall. The film starts with a young Eden (Rhona Mitra) surviving the plague, called the “Reaper virus”. Now fast-forward 30 years later…

The reviewer seems split about his feelings for the script (he specifically is very pissed off about the script’s stab at relevancy via the i-Pod), but here’s the quick summation:

I have nothing against merging genres or creating a pastiche, but the way Marshall has linked things together seems a little clunky. On paper, I don’t really understand how a society that survives a horrible disease can devolve into a giant cannibalistic biker gang or even an armor-wearing, Malcolm McDowell-led, medieval style society that solves conflict through gladiatorial combat. This is not to say that it won’t be cool to watch, so long as the visual elements of Doomsday are made unique and distinct enough from the slew of films and genres from which it so heavily borrows.

Marshall was able to do this in The Descent, and based on the concept art I’ve seen, it looks like he’ll be able to do it again — this has definite potential. I honestly hope he polishes up some of that dialogue, removes the fucking “EYE-POD” name entirely, fixes that damn ending, and makes the action sequences as much fun to watch as they were to read. If he does, then it’ll be entertaining — not an award winner or a critical darling, but entertaining none-the-less. If he doesn’t, then I think I’d rather take my chances locked in a post-apocalyptic Glasgow then sit through it.

They give it a B-minus.

Neil Marshall