About the extended ending

For a movie about the apocalypse, it cheered me up no end. Maybe it's the fact that Douglas keeps grinning at inappropriate moments and recovers from grotesque situations (including the death of his wife) surprisingly quickly.

Then there are the delightfully incongruous moments such as Douglas caught in a life threatening situation in an asylum in which staff look like they're being beaten to death and a man cuts his wrists after attempting to strangle Douglas. We then see him walking up the stairs unescorted with a nonchalance that suggests he had just left an uneventful board meeting. Later he is trapped in the same asylum and manages to walk out of the place after an altercation with the residents. Aren't asylums meant to be lockdowns or something? Another joy is the piano concerto played over what should be a sombre discussion on abortion.

Then there are the puzzling leaps of illogic. Such as Douglas putting two and two together about a biblical prophecy and his plant. This delightful overkill includes an increasingly shrill chorus of voices seemingly endlessly pointing out portentious numbers to an increasingly peturbed Douglas. Is he catching on? Apparently not, judging by the very next scene where he is inexplicably extolling the virtues of nuclear energy to a professor. His pregnant girlfriend is terrified of church crosses but it later transpires there is nothing sinister about her unborn child. So it was just a touch of morning sickness then? You know, the type brought on by, er, mornings and the merest peak at a church steeple? And let me give any would-be assassin a piece of advice. If the guy you want to kill is tied down to a trolley in a straight jacket (that is, completely at your mercy) don't...untie.....his......bonds. Got that?

I heartily recommend this film. There is a dream sequence in it that will elicit a Kirk-like gurn of unnalloyed pleasure for days after.