In the first scene of Doomsdays, we see a car pulling up outside a large house. A couple get out, and make their way towards the front door. What they don’t know is that there has been two people living-it-up at their expense inside the house while they were gone. When the couple least expect it, the squatters make a run for the near-by woods, stopping to slash the couple’s car tyres along the way..
This is when we meet our two main characters, Dirty Fred (Justin Rice), and Bruho (Leo Fitzpatrick). Bruho is certain that the world is going to end because the oil supply is running out, and Dirty Fred is in agreement. They spend what they think is their last days breaking into unoccupied off-season holiday homes in the Catskills Mountains, New York.
Dirty Fred, is a hipster, a constant liar, a thief, a drunk and most of all, a sleaze!. Bruho is different, at first glance you would think that he is the responsible one, but he has some serious anger problems. He also has a problem with cars, and refuses to travel in one. He believes they are part of the reason that the world is ending, and will destroy one on-sight with what ever weapon he has got in his hand.
During their travels they meet up with two other people – a teenage kid called, Jaidon (Brian Charles Johnson), who likes to carry a machete, and is more than happy to fuck-shit-up and join forces with the two (reminded me of Jonah Hill). Then we have Reyna (Laura Campbell), the girl who Dirty Fred manages to charm with his few lines of French, and sleazy charm.
Doomsdays is an original take on the apocalypse, and a damn good indie movie. Instead of skies falling, and cities crumbling to the ground, coated in mind-blowing special FX, we get to see this end-of-days tale told through the eyes of slackers, Dirty Fred and Bruho. We follow them, and live by their law, as they break into homes (because everything is going to shit anyway, so why not?) and pick-up some pretty awesome people along the way.
Doomsdays is another great example of what can be done when you have a solid script, unique vision, and a fresh idea. Reminds me of why I fell in love with independent cinema in the first place.
Outstanding directorial début from writer/director Eddie Mullins