Nearly 30 years after an infectious plague ravaged Scotland and forced the closing of the nation’s borders the plague recurs in London--prompting the government to send a crack team of commandos into Scotland to locate and retrieve the cure if indeed there is one. Of course it’s not as simple as all that. The hordes of crazed and in some cases cannibalistic survivors of the plague are more than willing to give a (very) warm welcome to these interlopers led by the foxy and fierce Eden Sinclair (Rhona Mitra). Meanwhile back in Merrye Olde England the virus is continuing to spread but some of the powers-that-be don’t seem altogether concerned about that being more preoccupied with protecting their image sullied as it already is. In short it’s every man and woman for himself and herself--survival of the fittest 21st-century style. It’s also derivative and not necessarily in a negative way of such sci-fi classics as John Carpenter’s Escape from New York and George Miller’s Mad Max trilogy--replete with appropriate nods and in-jokes from Marshall who clearly has a great respect and affection for those who came before. Sigourney Weaver may not lose any sleep but Milla Jovovich might. As the one-eyed two-fisted ferociously fit action heroine Eden Sinclair Mitra stakes her claim to become the next cult heroine and there’s plenty of room left here to accommodate Eden’s potential future adventures. It’s always nice having Bob Hoskins around even if only for an extended cameo appearance as Eden’s down-to-earth boss Bill Nelson. Hoskins has played some heavies in his time but here he’s one of the good guys. Alexander Siddig no stranger to science-fiction given his Star Trek: Deep Space Nine stint plays the (rightly) worried Prime Minister and the ever-scowling David O'Hara plays his ruthless aide-de-camp amusingly and ironically named Canaris (World War II buffs will get the reference) who really is the power behind the throne. Adrian Lester Nora-Jane Noone Darren Morfitt and reliable Sean Pertwee play members of Eden’s assault team--shades of James Cameron’s Aliens--although few of them are in one piece by the end credits. Such are the perils of being an actor in this sort of film. Another “old-school” favorite Malcolm McDowell provides expository narration (a lot of it) and his own brand of tasty British ham (sliced just right) to his role of the scientist Kane who has forsaken science--and society--for a more medieval motif in a world gone wild. Like Hoskins McDowell hasn’t much time onscreen but there’s something pleasing about having him here. This is a film that favors style over substance but there are opportunities for the actors to strut their stuff in spirited fashion. As bruised bloodied or beheaded as the actors get they all seem to be having fun.
Without question Neil Marshall is one of the fast-rising talents in the fantasy genre--a genre he has clearly studied well. He brings a keen insight and manages to “borrow” elements and inspiration from other films in a way that doesn’t insult those films doesn’t diminish his own work and--more importantly--doesn’t insult the audience some of whom will surely recognize those inspirations and nods (Doomsday is filled with them). This is however one of the more cold-blooded efforts of Marshall’s young career. It’s about an inhumane future and the film is suffused with that emotional resonance--or lack thereof. The humor such as it is is blunt and bloody and the irony no less smoothly rendered. Nevertheless this promises slam-bang action and it certainly delivers. In an era where so many horror and science-fiction films are cut to achieve a PG-13 rating often to the detriment of the end result Doomsday is bloody proud to go for that R rating!
As a wife and mother Sarah (Shauna MacDonald) has a seemingly idyllic life until a sudden accident rips her family away from her. That sets in motion a kind of healing reunion a year later. Her feisty friend Juno (Natalie Mendoza) and Beth (Alex Reid) convince Sarah to join a few other friends on a caving expedition--including Holly (Nora-Jane Noone) a butch caver who impulsively does whatever she wants and Rebecca (Saskia Mulder) an overly-cautious climber who needs to map out everything they do. Thing is this thrill-seeking challenge turns out to much more than they expected especially when they are trapped and suddenly notice white shadows squirming around them. Not good. The mostly unknown actresses in this scare fest are all decent in their Descent--and although grappling with one-dimensional characters the women still manage to convey the suffocating feeling of being confined in small spaces. In the dark dripping wet environ they deliver realistic reactions to the horror unfolding around them which is about as chilling as anyone can imagine. MacDonald as the long-suffering widow is a particular treat as she changes from a pitiful whiner to a kick-ass survivor who exacts revenge in different ways. Originally released in England British director Neil Marshall has handed us an appropriately creepy film which taps into primal fears--dark claustrophobic spaces things that go bump in the night--situations we usually see men deal with. So it's quite refreshing to watch women handle it especially in the way Marshall unravels the female camaraderie as expertly as the climbers tie their ropes. The Descent displays squirm-inducing violence that's not at all white-washed just because there are ladies involved. It's gory and brutal. The scariest moments are often obscured by the dark and in some scenes the film resorts to a Blair Witch Project point of view by watching the action through a camcorder. Although this Americanized version has a different ending from the British version (apparently one not so morbid) it's still far better than last year's abysmal The Cave. The Descent will definitely get your heart rate up!