Doomsday

The New York Times by

In terms of story, “The Descent” and Doomsday are as different as two genre films can be, but the falloff in artistic quality is still quantifiable. Where “The Descent” was a slow, quiet, exquisitely modulated, startlingly original film, Doomsday is frenetic, loud, wildly imprecise and so derivative that it doesn’t so much seem to reference its antecedents as try on their famous images like a child playing dress-up. Homage without innovation isn’t homage, it’s karaoke.

Variety by Dennis Harvey

Neil Marshall's flair for visceral action more than compensates for his script's lack of conceptual novelty in Doomsday. Principally South Africa-shot tale of a post-apocalyptic Great Britain cobbles together large chunks of "Escape From New York," "The Road Warrior," "28 Days Later" and "Resident Evil," but those with a taste for revved-up, splattery fantasy thrills won't be complaining.

The Hollywood Reporter by Frank Scheck

Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.

ReelViews by James Berardinelli

Doomsday tries to cram so much into its limited 105 minutes that aspects end up feeling rushed and confused (especially the political situation in England) and the ending is perfunctory.

Los Angeles Times by Jan Stuart

Just to shake things up a little, I guess, the creators of the laughably over-the-top Doomsday thought it might be fun to turn the survivors of a deadly epidemic, rather than its victims, into maniacal murderers.

TV Guide Magazine by Ken Fox

Marshall delivers what he promises and Mitri makes for a cool, kick-arse heroine in the Ellen Ripley mold.

Film Threat by Stina Chyn

As a guilty pleasure, it’s spectacularly entertaining

Boston Globe by Wesley Morris

Marshall reveals himself to be a terrific showman of chaos and comic savagery. This is Baz Luhrmann's "Mad Max."