I don’t consider it a far off notion to call Neil Marshall this generation’s John Carpenter. The man has delivered his own twisted and original visions of various genres that have ended in some of the most riveting movie experiences I’ve ever had. I first discovered Marshall with “Dog Soldiers,” which successfully combines the werewolf sub-genre with a war movie, resulting in a quite obvious homage to “Assault on Precinct 13.” I’m also a humongous fan of his post apocalyptic tale “Doomsday,” which is his loving ode to the post apocalypse sub-genre and zeroing in on a heroine that’s basically Snake Plissken, even missing one eye, to boot.
Marshall at his best is a raw and relentlessly brilliant filmmaker who can muster up some unique emotions and arouse hot debates among the horror and science fiction community. Marshall’s masterpiece is his odd form of “The Thing,” in where he casts a predominantly female cast, all of whom are confined to one location, forced to fight off delirium, and mistrust, and becoming victim to their landscape, which is harrowing and dangerous no matter where one turns.
