Let’s be fair: DOOM: Annihilation is a disaster of a movie from start to finish, regardless of whether it’s based on a video game. But on the flip side, this was something that got in the league and without even having to see a single trailer: Universal Pictures made a cinematic reboot by capitalizing on 1440 Entertainment’s 2016 revival of DOOM, one of its own divisions for direct-to-domestic productions. But what really hurts isn’t the resources or the on-screen result, it’s the brutally missed opportunity.

Despite being iD Software’s Star License, we anticipated that the outcome of Doom: Annihilation would be closer to the insane Sharknado saga than James Cameron’s avatar or Marvel Studios’ blockbusters. But at least the Syfy movies are a debacle that doesn’t take itself seriously. DOOM: Annihilation, on the other hand, doesn’t even seem to care that there’s an audience interested in seeing the DOOM Slayer on the big or small screen. Basically because it doesn’t appear on the screen.

Directed and written by Tony Giglio, the film hands over the leadership and weight of the film to Lieutenant Joan Dark, a Marine who is far from unleashing a storm of destruction and barely manages to wield the mythical BFG she has in the Finale barely raises beats.

Additionally, throughout the hour and a half of footage, Dark watches as all of his companions collapse under his nose, without understanding what is happening. On the other hand, the viewer of the film has it much clearer than our fallen heroine: all the clich├ęs of science fiction cinema are present. There would be more, but it would be about adding minutes to the film.

You could say he wants to take the DOOM acronym in new directions, and it’s a risky and interesting move, but he ends up skipping almost everything that defines the iD Software saga and, as a bonus, gives us a production that reimagined For the worse and without subtleties in scenes from Alien: The Eighth Passenger or Predator in mid-2019 makes the set a debacle. How could something with such good fundamentals and so few expectations end up so badly?

The gates of hell have been opened… again

Inexplicably, security reinforcements dispatched by the UAC are on the way and will arrive shortly after the experiments begin and chaos ensues. Not that it’s a reaction to events or a spontaneous decision, mind you, as the deployed Marines hibernated for four months during the voyage from Earth to Phobos and have barely been awake for a few hours. But because the Nola is heading for a hellish trap at the worst possible time.

Leading this security group is Lieutenant Joan Dark (played by Amy Manson), a veteran Marine who was assigned to Phobos – ostensibly as a rebuke for her past failure – along with a group with very little willingness to cooperate with her and fix the injury to make matters worse, her ex-scientist boyfriend. What does the above have to do with DOOM? Well, before we introduce ourselves to the motley crew, the video game logo appears. But it gets worse from here.

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Dark and his marines land to their surprise to find that the UAC base they were trying to protect has been completely destroyed. There were unmistakable signs that something was wrong, but it just so happens that the gates of hell open in that three-hour gap between the Marines waking up and their landing on Phobos. A seemingly short time, but long enough to turn the entire scientific base upside down and turn all humans into demonic creatures. All but a handful of survivors who must escort them and try to stay alive. At this point in the film, we know that’s not going to happen.

In light of what happened, Dark changes his priorities and decides to evacuate the scientific base, but he finds that the ship he just landed on has been sabotaged, his marines have started to drop like flies and the oxygen becomes too scarce. It’s time to consider the remaining options and the only possible solution seems to be to try to traverse the portal that led to this nightmare. In any case, the mission failed as soon as it began, and the same humanity determined to outlast another generation at all costs is beginning to sense its own extinction.

A disastrous movie reboot with four hellish costumes


Tony Giglio, writer and director of Doom: Annihilation, considers himself a fan of the classic DOOM video games. At least so much that in 2015 and after chaining a good series for Universal, he asked the studio to make a new movie based on id Software’s hit FPS. Given that, and according to Forbes, given the critical failure and poor collection of the first film starring Dwayne “The Rock” Johnson, a ton negative was found.

The truth is that Universal was not short of reasons: moreover, more than ten years had passed since the release of DOOM 3, but in 2016 there was a total revival of the saga, reviving the original phenomenon. DOOM (2016) brought Slayer back to the forefront of the genre and became a critic and bestseller.


With the data in hand, Giglio revisited the proposal and was accepted by Universal, albeit with considerable moderation: production would be handled by 1440 Entertainment, and that meant adapting to low budgets and big challenges. On the other hand, Giglio reckoned there would be a very specific audience that the project might suit.

It would have been better to have had a big theatrical release, but I knew the parameters when I started the project as 1440 and that stigma no longer exists. If this happened in the mid-2000s and you were making a film that was released straight to the home format, you could turn it down. But as Netflix changes the game, there are fewer and fewer cinematic experiences, so I’m glad to have something I’ve suggested and written. Also, I was a big fan of Doom. Having a lot of experience with 1440 and knowing they wouldn’t throw tens of millions of dollars at us, I can’t come up with a script that wouldn’t be feasible. They’re always trying to aim a little bit higher and it’s always easier to go down than up, so I’d probably say we were too ambitious for the things we wanted to do. You write a script and then you shoot it and then you put it together and it’s never exactly what you envision: none of us are Kubrick, and none of us can go back and do things over and over again. But I’m very happy with the end result.

While there was a real opportunity to revive the DOOM film saga, it’s evident that the result is far from being an ambitious, big-budget project, but it’s also that it’s been particularly striking in certain aspects: beyond The overly generic marine and scientist costumes featured in the film Doom: Annihilation only had four hellish costumes in the budget.


In fact, in Doom: Annihilation it almost seemed like only one suit was produced, as the suits didn’t match on any plane. Which explains much of the overwhelming on-screen action. The reality is that a scene was shot with up to three on screen but didn’t end up in the final cut.

Transformed humans are basically makeup, and then we had four demon costumes. You never want to use all four at the same time in case an emergency arises. There was one scene where we saw three, but we ended up cutting them out of the footage. But most of the time we used two hero demons and we switched them. The boys grew very tired; It was very hot in those costumes. And you have a demon costume specially designed for stunts and jumps, so you always have to be careful not to damage this costume. But this was a company with a lot of experience.

Which in turn degenerated into a big problem: although the majority of the film takes place in the corridors and facilities of the space station Phobos, in one of the last scenes the protagonist ends up in hell himself and …