Posts should have some depth to them, please don't settle for a puddle's depth. R6: No let's-plays of any caliber or video content that is surface level related.We don't want to hear about how a different Doom community banned you. Do not gatekeep.īigotry of any sorts will not be tolerated here. Let people have fun, and just be nice to your fellow redditors. We have seen it happen before on other subs for merely discussing piracy. Please don't invoke the wrath of Zenimax. This sub is rated M for Mature, not AO for Adults Only. Please consider visiting r/DankDoomMemes for 24/7 meme posting! We'll also generally turn a blind eye when something news worthy happens, but please don't ruin our good faith. Low effort memes are only allowed on Sundays. Posts that have a forced or minimal connection to Doom count as low effort. ![]() R1: No spam, low effort, or off-topic posts.Rules (Click here for full explanations) Watching the damned thing certainly felt like work, and judging by the tired, deflated action in the movie, making may have been just as boring.ĭoom: Annihilation is available on Netflix now.Please see /r/DoomMetal for all your heavy and slow music needs And I hope that the people onscreen, or behind the camera, were paid to make it. I was paid to watch the movie, which I didn’t pay for, on Netflix. Annihilation may line up more with the game’s lore, but it gave up any hint of a personality in order to do so, without having the guts - excuse my pun - to put its own stamp on the material. The previous Doom film may have strayed significantly from the source material, but The Rock is always his own campy special effect, and the extended first-person sequence near the end at least tried to replicate the gonzo energy of the games that made me love this world to begin with. It’s not even an underwhelming version of Doom, it’s an underwhelming version of James Cameron’s Aliens, mimicking much of that movie’s pacing and visual language. Everything is brightly lit, even the “scary” scenes, and it’s all shot with such drab clarity that every set ends up looking like it came from a slightly bloody soap opera. The violence isn’t very violent, and every actor seems to have been there for the contractually obligated amount of time per day, and not a minute longer. ![]() The greatest sin of Doom: Annihilation, which reboots the franchise after The Rock gave it a stab in 2005, is that it’s no fun to watch. And Doom: Annihilation never rises above a slog. It’s not enough for a Doom movie to bring in the blood and monsters, it should mimic the games by holding your head underneath the horror for so long that you feel like you really do have to fight in order to come up for air. That’s not a bad place to start for a horror movie, but Doom: Annihilation, which just popped up on Netflix, is held back by a misguided loyalty to the basic plot structure of those games - scientists mess with arcane artifacts, Marines have to try to pick up the pieces after demons flood through an ancient doorway - while ditching the sense of anarchy and fun that made them so enjoyable. ![]() The Doom series of games itself always dove headfirst into its own mythology built around Satanic imagery and relentless violence, focusing on fun and intensity over nuance or story. Doom: Annihilation seems like one of those cases. There is a fascinating discussion of 2018’s A Book Club from Folding Ideas that talks about how a movie producer can still profit even if audiences don’t like their movie.
0 Comments
Leave a Reply. |