A strange man known only as the "metal fetishist", who seems to have an insane compulsion to stick scrap metal into his body, is hit and possibly killed by a Japanese "salaryman", out for a... See full summary »
It's the end of yet another night at Hastings Supermarket, an idyllic family grocery store in Buck Lake, Arizona. But the normal monotony of rounding up shopping carts and settling out the ... See full summary »
Mathew St. Patrick,
Animal activists invade a laboratory with the intention of releasing chimpanzees that are undergoing experimentation, infected by a virus -a virus that causes rage. The naive activists ignore the pleas of a scientist to keep the cages locked, with disastrous results. Twenty-eight days later, our protagonist, Jim, wakes up from a coma, alone, in an abandoned hospital. He begins to seek out anyone else to find London is deserted, apparently without a living soul. After finding a church, which had become inhabited by zombie like humans intent on his demise, he runs for his life. Selena and Mark rescue him from the horde and bring him up to date on the mass carnage and horror as all of London tore itself apart. This is a tale of survival and ultimately, heroics, with nice subtext about mankind's savage nature. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Scriptwriter Alex Garland acknowledges several sources as inspiration for his screenplay, notably John Wyndham's The Day of the Triffids (1963), George A. Romero's "Dead" trilogy (Night, Dawn and Day) and The Omega Man (1971). Direct homages include Jim waking up in the hospital from The Day of the Triffids (1963), the chained infected being studied from Day of the Dead (1985), and the scene in the grocery store (people in the mall from Dawn of the Dead (1978)), the stop for supplies that saw a run-in with infected children (also Dawn of the Dead (1978)), and the military holing up against the plague with outsiders partially to deliberately include females (also Day of the Dead). See more »
After leaving the hospital, when Jim stands at the bottom of steps at the junction of Carlton House Terrace and Waterloo place, someone is walking down the hill on the right. See more »
Perhaps I'm a little biased. After all, this is set in the city I live and work in, and seeing Oxford Street and Piccadilly Circus, which I pass by every morning and which are usually teeming with crowds of people, completely empty was enough to send shivers down my spine. Usually when you watch a movie like this it's located in some nondescript Midwestern village, which makes it easy to detach yourself from the events unfolding on screen. But seeing them occur in the place you call home is something that gives it an entirely new sense of reality, and one I was previously unaccustomed to.
Still, judging 28 Days Later entirely on its merit as a film, it's easy to arrive at the conclusion that it's a fantastic achievement, as well as a coming-of-age of sorts for director Danny Boyle; I can't say the MTV-inspired vanity of The Beach, or the self-consciously trendy posturing of Trainspotting appealed to me, and to my shame I initially expected 28 Days Later to be given a similar treatment. Thankfully, my fears proved unfounded, discarded straight after a opening sequence which is at once effortless and fearsome. The rest of the movie was a joy. A terrifying joy, but a joy nonetheless.
It's true that sometimes minimalism can be more effective than overblown bravado, and it's definitely true for this movie. It's the scenes of complete silence which get to you the most; an entire metropolis empty. The grainy picture serves to add a documentary-style quality to the film, which makes the whole situation seem almost too real to bear. Definitely a wise choice to film this on digital video.
You will occasionally meet people who thought 28 Days Later wasn't 'scary' or 'gory' enough. These are the same people who will tell you that 2001 was 'boring', or that Memento was 'confusing'. Ignore them. Others didn't understand the purpose of the second half, or were confused by its change of pace, feeling that it distracted from the movie as a whole. However, I personally regard the second half as very important because, as another reviewer pointed out, it makes a very succinct point: What is scarier, the end of the world, or having the world repopulated by maniacs? That, I think, is where the real Horror of 28 Days Later lies.
28 Days Later, like the Romero zombie flicks of yore, is ultimately an allegory of the days we are living in, an age in which we are constantly confronted with violence by the media (much like the ape right at the start of the film), where violence begets violence, and humanity faces an uncertain future. I applaud Danny Boyle's bravery in making 28 Days Later because he undoubtedly took a big commercial risk when the majority of the cinema-going public might prefer escapism to words of caution. Remember, Rage is a human-made disease. Quite the allegory there.
Like most great masterpieces of their time, 28 Days Later has been misunderstood by a considerable amount of people. I have no doubt it will go down in history as a classic, the one movie which perfectly sums up the confused era we are living in. And even if you didn't like it, it would be advisable to give 28 Days Later another chance; it's a haunting experience when looked at from the right angle. Danny Boyle has many years left in him, I hope he'll continue making more movies like this.
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