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Übersetzung Englisch-Deutsch für doomsday im PONS Online-Wörterbuch nachschlagen! Gratis Vokabeltrainer, Verbtabellen, Aussprachefunktion. Englisch-Deutsch-Übersetzungen für doomsday im Online-Wörterbuch polskierosliny.eu (Deutschwörterbuch). Übersetzung für 'doomsday' im kostenlosen Englisch-Deutsch Wörterbuch von LANGENSCHEIDT – mit Beispielen, Synonymen und Aussprache. Lernen Sie die Übersetzung für 'doomsday' in LEOs Englisch ⇔ Deutsch Wörterbuch. Mit Flexionstabellen der verschiedenen Fälle und Zeiten ✓ Aussprache. Doomsday steht für: Jüngster Tag bzw. Jüngstes Gericht in der englischen Sprache; eine mögliche Deutung des Ausdruckes D-Day; eine Comicfigur in den. Übersetzung im Kontext von „Doomsday“ in Englisch-Deutsch von Reverso Context: Doomsday, nothing is as it was. Übersetzung im Kontext von „the doomsday“ in Englisch-Deutsch von Reverso Context: Maybe the doomsday boys are right.
A futuristic action thriller where a team of people work to prevent a disaster threatening the future of the human race. Director: Neil Marshall. Writer: Neil Marshall.
Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. November's Top Streaming Picks.
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Edit Cast Cast overview, first billed only: Caryn Peterson Vagrant Girl Adeola Ariyo Nurse Emma Cleasby Katherine Sinclair Christine Tomlinson Young Eden Sinclair Vernon Willemse Hot Dog Victim Daniel Read Sergeant 1 Karl Thaning Pilot Stephen Hughes Wall Guard Ryan Kruger Soldier Nathan Wheatley Patient 'X' Cecil Carter Richter Rhona Mitra Edit Storyline A lethal virus spreads throughout Scotland, infecting millions and killing hundreds of thousands.
Edit Did You Know? Goofs The Bentley clearly strikes the blast doors as it exits the bunker, yet its wing mirrors are undamaged in later shots.
Quotes [ first lines ] Kane : Like so many epidemics before, the loss of so many lives began with a single microscopic organism.
It's human nature to seek even the smallest comfort in reason, or logic for events as catastrophic as these. But a virus doesn't choose a time or place.
It doesn't hate or even care. It just happens. Alternate Versions Theatrical version min. Was this review helpful to you? Yes No Report this.
Q: What songs play when? Q: How does the movie end? Language: English. Runtime: min. Color: Color. Edit page.
November Streaming Picks. Kane, who was working on a cure when Scotland was quarantined. Nelson chooses his top police officer, Major Eden Sinclair, to lead the team.
Sinclair is originally from Scotland, having escaped as the quarantine began at the cost of her right eye. For Sinclair the mission is also personal, as she hopes to learn if her mother survived or not.
Sinclair's team crosses the wall to Glasgow , Dr. Kane's last known location. In Glasgow, while searching the local hospital for survivors, Sinclair and her team are ambushed by a group of marauders.
Norton and Dr. Stirling manage to escape, while the team suffers heavy casualties. Sinclair and Dr. Talbot are captured by what turns out to be a huge gang of brutal cannibals, led by the power-hungry Sol, who plans to use her as leverage to cross the wall, allowing his army to start their invasion on England, which will bring Great Britain into the Golden Age.
He then leaves for the sacrificial ceremony to join the rest of his gang, who burn Dr. Talbot alive before devouring his body. With the help of Cally, another prisoner, Sinclair escapes and kills Viper, Sol's second-in-command.
She meets with Norton and Stirling, and the three escape on a train. Cally reveals that she and Sol are Kane's children.
Unsatisfied with Kane's rule, Sol abolishes martial law by creating his own army. Meanwhile, back in London, everyone present ends up infected with emotional outbursts related to the Reaper Virus, destroying everything in sight in an ongoing riot.
Hatcher plans secretly to isolate the central London area because of the infection when an infected man breaks into Hatcher's office and tries to kill him.
Nelson shoots and kills the infected man, but his blood splatters on Hatcher. Hatcher is quarantined by his right-hand man, Michael Canaris, who also takes his place as de facto prime minister.
Hatcher later commits suicide, unable to take much more of his successor's scam. After leaving the train, Sinclair's group is arrested by soldiers armed with archaic weapons and armour.
They are taken to a medieval castle and imprisoned. Their leader, Marcus Kane, tells Sinclair the truth: there is no cure, only people with a natural immunity.
Originally a medical researcher, he was devastated when his family was left behind during the quarantine. After losing his wife, Kane became a twisted, sadistic lord who now hides from the world around him.
Angry to see Sinclair return to Scotland after the start of the quarantine, Kane sentences her and her group to death, pitting Sinclair against Telamon, his executioner, in a small fighting ground to entertain his followers.
During the duel, Sinclair subdues and kills Telamon while the rest of the group escapes, retrieving their equipment and rescuing Sinclair.
Sinclair, Norton, Stirling and Cally escape to a fallout shelter entrance on horseback. They locate an underground facility in the forest and find an intact Bentley Continental GT , which they fuel up.
Kane's medieval knights arrive and kill Norton. Sinclair and the others drive the Bentley back to the quarantine wall.
On the way, they are intercepted by Sol's gang, which seeks to avenge Viper once and for all. After a high-speed chase, Sol and many of his men are killed and Sinclair's group escape.
Using a phone retrieved from the fallout shelter, Sinclair calls Canaris, who later arrives in a government gunship. Canaris then tricks Sinclair into trading Cally - after he suggests that her blood can be used to create a vaccine to treat the virus - revealing his scheme to let the Reaper Virus spread all over the UK, as both a form of population control, and for shady profit.
Cally and Stirling board the gunship with Canaris while Sinclair returns to her old house in search of her mother, followed by Nelson, who flew into the quarantine zone to speak with his superior officer.
While Sinclair confirms that her mother has perished due to the virus, she is able to retrieve a picture of her. The recording is later broadcast to the rest of the country, much to Canaris' dismay, as it spells doom to his career.
The marauders stand in shock for a moment before bursting into cheering, accepting Sinclair as their new leader. MyAnna Buring portrayed Kane's daughter Cally.
Director Neil Marshall lived near the ruins of Hadrian's Wall , a Roman fortification built to defend England against Scotland's tribes.
The director fantasised about what conditions would cause the Wall to be rebuilt and imagined a lethal virus would work.
Marshall had also visualised a mixture of medieval and futuristic elements: "I had this vision of these futuristic soldiers with high-tech weaponry and body armour and helmets—clearly from the future—facing a medieval knight on horseback.
Additionally, Scotland is the home to multiple castles, which fit Marshall's medieval aspect. The lethal virus in Doomsday differs from contemporary films like 28 Days Later and 28 Weeks Later by being an authentic plague that actually devastates the population, instead of infecting people so they become aggressive cannibals or zombies.
Marshall intended the virus as the backdrop to the story, having survivors scavenge for themselves and set up a primitive society. The director drew from tribal history around the world to design the society.
Though the survivors are depicted as brutal, Marshall sought to have "shades of gray" by characterising some people in England as selfishly manipulative.
The director intended Doomsday as a tribute to post-apocalyptic films from the s and s, explaining, "Right from the start, I wanted my film to be an homage to these sorts of movies, and deliberately so.
I wanted to make a movie for a new generation of audience that hadn't seen those movies in the cinema—hadn't seen them at all maybe—and to give them the same thrill that I got from watching them.
But kind of contemporise it, pump up the action and the blood and guts. Marshall also cited Metalstorm , [13] Zulu , [14] and works of director Terry Gilliam like The Fisher King as influences in producing Doomsday.
He reflected, "I do think it's going to divide audiences I just want them to be thrilled and enthralled. I want them to be overwhelmed by the imagery they've seen.
And go back and see it again. Rogue Pictures signed Marshall to direct Doomsday in October , [17] and in November , actress Rhona Mitra was signed to star in Doomsday as the leader of the elite team.
Marshall described the broader experience: "There's fifty or more speaking parts; I'm dealing with thousands of extras, logistical action sequences, explosions, car chases — the works.
Production began in February in South Africa, [18] where the majority of filming took place. Marshall said of South Africa's appeal, "The landscape, the rock formations, I thought it was about as close to Scotland as you're likely to get, outside of Ireland or Wales.
A massive car chase scene was filmed for Doomsday , described by Marshall to be one part Mad Max , one part Bullitt , and one part "something else entirely different".
Paul Hyett, the prosthetic make-up designer who worked on The Descent , contributed to the production, researching diseases including sexually transmitted diseases to design the make-up for victims of the Reaper virus.
The visual effects for Doomsday stemmed from the s stunt-based films, involving approximately visual effects shots.
While filmmakers did not seek innovative visual effects, they worked with budget restrictions by creating set extensions. With most shots taking place in daylight, the extensions involved matte paint and 2D and 3D solutions.
The visual effects crew visited Scotland to take reference photos so scenes that were filmed in Cape Town, South Africa could instead have Scottish backgrounds.
Several challenges for the visual effects crew included the illustration of cow overpopulation in line with a decimated human population and the convincing creation of the rebuilt Hadrian Wall in different lights and from different distances.
The most challenging visual effects shot in Doomsday was the close-up in which a main character is burned alive. The shot required multiple enhancements and implementations of burning wardrobe, burning pigskin, and smoke and fire elements to look authentic.
Neil Marshall's car chase sequence also involved the use of visual effects. A scene in which the Bentley crashes through a bus was intended to implement pyrotechnics, but fire marshals in the South African nature reserve, the filming location for the scene, forbade their use due to dry conditions.
A miniature mock-up was created and visual effects were applied so the filming of the mock-up would overlay the filming of the actual scene without pyrotechnics.
Other visual effects that were created were the Thames flood plain and a remote Scottish castle. A popular effect with the visual effects crew was the "rabbit explosion" scene, depicting a rabbit being shot by guns on automatic sensors.
The crew sought to expand the singular shot, but Neil Marshall sought to focus on one shot to emphasise its comic nature and avoid drawing unnecessary sympathy from audiences.
Marshall originally intended to include s synth music in his film, but he found it difficult to combine the music with the intense action.
Instead, composer Tyler Bates composed a score using heavy orchestra music. Marshall also hoped to include the song "Into the Light" by the Banshees, but it was left out due to the producer disliking it and the cost being too high to licence it.
For its theatrical run, the film was originally intended to be distributed by Focus Features under Rogue Pictures , but the company transferred Doomsday among other films to Universal Pictures for larger-scale distribution and marketing beginning in Rotten Tomatoes on UK's general consensus [31].
Doomsday was not screened for critics in advance of its commercial opening in cinemas. The website's consensus reads, " Doomsday is a pale imitation of previous futuristic thrillers, minus the cohesive narrative and charismatic leads.
Alison Rowat of The Herald perceived Doomsday as "decidedly everyday" for a thriller, with Marshall's script having too many unanswered questions and characters not fully developed despite a decent cast.
Rowat said, "In his previous films, Marshall made something out of nothing. Here he does the opposite". The critic acknowledged the attempted homages and the B-movie approach but thought that "there has to be something more".
Alonso Duralde of MSNBC described Doomsday : "It's ridiculous, derivative, confusingly edited and laden with gore, but it's the kind of over-the-top grindhouse epic that wears down your defenses and eventually makes you just go with it.
Reviewer James Berardinelli found the production of Doomsday to be a mess, complaining, "The action sequences might be more tense if they weren't obfuscated by rapid-fire editing, and the backstory is muddled and not all that interesting.
He added, "There's no question that Doomsday does what it does with vigor, high technical prowess and just enough humor to avoid turning ridiculous.
Hartlaub said of the effect, "Hire a couple of great stuntmen and a halfway sober cinematographer, and you didn't even need a screenwriter.
Seitz described his discontent over the lack of innovation in the director's attempted homages of older films: " 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.
Scotland's tourism agency VisitScotland welcomed Doomsday , hoping that the film would attract tourism by marketing Scotland to the rest of the world.
A spokesperson from Scottish Screen anticipated, "It's likely to also attract a big audience who will see the extent to which Scotland can provide a flexible and diverse backdrop to all genres of film.
In contrast, several parties have expressed concern that Doomsday presents negativity in England's latent view of Scotland based on their history.
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