A beer or two while watching this film will help. There's a few good laughs, if somewhat misogynistic, and there's nothing in the script that will strain your brain.Could be the writer was going through a break-up at the time which might explain why the women the characters live with are portrayed as unlikable and shrewish. The man/woman divide is destined to remain as wide as it ever was with this addition to cinematic fame.Doghouse is very male, very British, very gory and very funny - in places. It does tend to drag on near the end. Really could have benefited from tighter camera work, more variety and shorter run- time. Almost felt like they had to add a few minutes here and there to pad it out. Slightly overused the sets too, maybe a budget issue.Comparisons to Shaun of the Dead are unworthy. You should choose SOTD over this one, given the choice.I give it a 6 which to me means I found it slightly better than merely watchable.

A bunch of scruffy sexist pig guys find themselves in a remote isolated town in which an experimental biological weapon has transformed all the women into murderous man-hating monsters. While director Jake West keeps the pace moving at a cracking clip, generates a good deal of tension, delivers a handy helping of graphic gore, and demonstrates a flair for nifty visuals, Dan Schaffer's rather crude and offensive script alas leaves a pretty foul aftertaste due to an unfortunately well pronounced misogynistic bent that comes across as more heartfelt than tongue in cheek. Moreover, the main male characters are an uniformly obnoxious and unappealing pack of macho meathead blokes who are impossible to either like or care about, with Danny Dyer's crass lout Neil rating as the most hateful and repellent of the lot. That said, there are plenty of hilarious lines sprinkled throughout and a few funny gags. In addition, the distaff zombies are a quite funky and colorful bunch who include a morbidly obese hag, an axe-wielding bride, an old biddy hobbling on a walker, a lass who swings a mean sword, and, best of all, Emily Booth as a lethal hairdresser armed with a pair of deadly scissors. However, the abrupt and inconclusive ending simply stinks. Ali Asad's slick widescreen cinematography and the spirited score by Richard Wells are both up to par. A missed opportunity.

All in all this film, was easy to watch, did get a bit OTT towards the end. Great casting, the chemistry between Stephen Graham, Noel Clarke and Danny Dyer is what made this film. If it wasn't for that I would of turned it off within the first 5 minutes.The idea behind the film was okay, the ridiculous scene with Danny Dyer and the fat zombie female, seriously who would even find that funny???Now Noel Clarke in a skirt that was funny.Just not believable at all, the rating maybe a little harsh as I didn't turn the film off but would not recommend to anyone.

I don't even know where to start with this.We're introduced to our cast of characters in scenarios where it is firmly established that men (even gay men, provided they're not effeminate) are good, simple creatures, with good, simple drives, and women (and gay men who are effeminate) are nasty, hormonal, screeching control-freaks who just want to spoil the lives of good, simple men.And... That's pretty much it for the entire film. Seriously. That's the entire film, in a nutshell.Of course, it tours through pretty much every gender cliché you've ever been offended or disappointed by, and it also contains Danny Dyer. And let's face it, casting directors who cast Danny Dyer need to be shot. Because he's crap. And this film is no exception to that rule: He can out-Cockney you, he can out-bloke you, but he really can't out-act you, he is Danny "Dire" Dyer.Sadly, he's not even the worst actor in the film. The only reason that I scored this a 2 out of 10 instead of a 1 is that I have a bit of a thing about Nicola Jane Reading, who played the busty zombie-witch.