I've always found post-apocalyptic scenarios a little boring. Sure, the point is to see how humanity survives in a world fraught with chaos, but all too often  filmmakers' predictions of the future end up looking exactly the same. Doomsday doesn't bring anything particularly new to the table, but at least writer/director Neil Marshall has enough good sense to inject just the right amount of creativity into the formula, helping the film come across as entertaining if not good.

In 2008, the deadly Reaper virus hit Scotland in a big way. Spreading as fast as the common cold, the virus claimed untold numbers of victims before officials closed off the country for good, effectively putting an end to the virus -- or so they thought. Twenty-five  years later, Reaper victims have been discovered in London, prompting swift action to be taken before society collapses all over again. After signs of survivors in Scotland are discovered via satellite, a team, headed by tough-as-nails security officer Eden Sinclair (Rhona Mitra), is assembled to venture in and bring back a potential cure. Of course, the task is easier said than done, as the team confronts all manner of dangers, from hordes of vicious cannibals led by the psychotic Sol (Craig Conway) to a medieval community of survivors not too comfortable with outsiders invading their turf.

While Marshall was responsible for 2006's uncommonly strong creature feature The Descent, Doomsday harkens back more so to his debut, Dog Soldiers. Despite the dour storyline, there are no traces of satire to be found here as was evident in 28 Weeks Later and Land of the Dead. Doomsday is as carefree as apocalyptic thrillers go, indulging in pure, unadulterated, blood-shedding glee. It's not so much in the same heavy vein as George Romero's zombie flicks but rather along the same lines as John Carpenter's work from the '80s, namely Escape from New York. Seriously, Marshall stretches the term "borrowing liberally" to its breaking point here, copying the latter film down to having the hero (or, in this case, heroine) sport an eyepatch. Action buffs will definitely be struck with a sense of deja vu, not to mention why Marshall didn't just remake New York instead of offering up a pale imitation of Carpenter's cult classic.

As I mentioned before, Doomsday leaves the genre's basic elements relatively intact. The survivors still look like they wandered off the set of Mad Max, the good guys are mostly made up of cannibal fodder, and the protagonist is a human Rolex that could probably swallow a live grenade and still keep on ticking. But worry not, for Marshall doesn't let himself get too bogged down in going through the motions. There are a few little touches here and there that bring a much needed brush of insanity to the production. Right off the bat, he's not afraid to let the blood and gore flow like the mighty Mississippi, as he announces near the beginning by blasting a cute bunny rabbit into ribbons. Then there's Conway's completely off-kilter performance as Sol, a psychopath who's so over-the-top, he strikes fear into your heart as much as he makes you giggle like an eight-year-old. He's definitely a much more vivid character than Mitra's Eden, who doesn't do anything more than Kate Beckinsale already did in the Underworld movies.

As far as armageddons go, Doomsday is a cut above snoozefests like Resident Evil: Extinction, as it bothers to bring at least a little energy to the party instead of sluggishly repeating the steps of other, better movies of its kind. Seen by yourself in the middle of a multiplex, Doomsday won't seem like much, but when gathered with some fellow gorehounds, it proves to be a fairly entertaining ride.

MY RATING: ** 1/2 (out of ****)

(Released by Rogue Pictures and rated "R" for strong bloody violence and some sexual content/nudity.)