Mini movie review: Doomsday

It's been quite some time since I saw a movie as - what's the word I want: disjointed? hodgepodge? higgledepiggledy? - as Doomsday. Take 28 Days Later (what with the infection decimating Great Britain), The Road Warrior and Max Max Beyond Thunderdome (for the post-apocalyptic, crazed car chases and general stirring up of the post-apocalyptic populace, complete with an 80s soundtrack - which I guess is there to show how nuts this populace is), and Aliens (for the badass chick heroine and the military, smug in their high-tech weaponry and vehicles getting their asses handed to them), plus a little of Serenity (for the Reavers) and some Monty Python's Holy Grail (for knights and the exploding rabbit) ... that's Doomsday.

I'm absolutely not going to try to describe the plot. It's a find the cure for the disease that's killing everyone disaster thing and there's lots of explosions and blood and gore splashing everywhere, including on the camera (which was a nice touch the first time, but kind of goofy the second time). The soundtrack kicks ass as much as Rhona Mitra (the aforementioned badass chick heroine) but this movie is just one hot mess. I really wish Neil Marshall had picked one or two genres to focus on, rather than whirling it all together; The Descent was sooooooooo good, and this movie just felt like he couldn't say no to any idea that he had. Still, for a hot day when you're looking for something brainless and noisy, you could do worse. (But I'd check to see if The Descent was available first.)