| Photos (See all 41 | slideshow) | Videos (see all 5) |
Directed by | |||
| Danny Boyle | |||
Writing credits | ||
| Alex Garland | (written by) | |
Produced by | |||
| Robert How | .... | line producer | |
| Andrew Macdonald | .... | producer | |
Original Music by | |||
| John Murphy | |||
Cinematography by | |||
| Anthony Dod Mantle | |||
Film Editing by | |||
| Chris Gill | |||
Casting by | |||
| Gail Stevens | |||
Production Design by | |||
| Mark Tildesley | |||
Art Direction by | |||
| Mark Digby | (supervising art director) | ||
| Rod Gorwood | (as Rob Gorwood) | ||
| Patrick Rolfe | |||
| Denis Schnegg | |||
Set Decoration by | |||
| Fanny Taylor | |||
Costume Design by | |||
| Rachael Fleming | |||
Makeup Department | |||
| Nuala Conway | .... | additional makeup artist | |
| Lisa Crawley | .... | prosthetic makeup artist | |
| Polly Earnshaw | .... | additional makeup artist | |
| Andy Garner | .... | special makeup effects artist | |
| Adrian Getley | .... | prosthetic makeup artist | |
| Richard Glass | .... | contact lens optician | |
| Barrie Gower | .... | prosthetic makeup artist | |
| Sian Grigg | .... | makeup artist | |
| Alan Hedgcock | .... | prosthetics makeup effects | |
| Kate Hill | .... | prosthetic makeup artist | |
| Kerry Hormbrey | .... | makeup trainee: FT2 | |
| Deborah Jarvis | .... | additional makeup artist | |
| Sallie Jaye | .... | makeup designer | |
| Melissa Lackersteen | .... | additional makeup artist | |
| Chris Lyons | .... | special effects teeth | |
| Ian Morse | .... | prosthetic makeup artist | |
| Anthony Parker | .... | prosthetic makeup artist | |
| Susan Parkinson | .... | additional makeup artist (as Sue Parkinson) | |
| Justin Pitkethly | .... | prosthetic makeup artist (as Justin Pitkethley) | |
| John Schoonraad | .... | prosthetic makeup artist | |
| Robin Schoonraad | .... | prosthetic makeup artist | |
| Tristan Schoonraad | .... | prosthetic makeup artist | |
| Jemma Scott-Knox-Gore | .... | contact lens technician | |
| Dee Sherwood-Wallace | .... | prosthetic makeup artist | |
| Miho Suzuki | .... | prosthetic makeup artist | |
| Cliff Wallace | .... | prosthetics makeup effects | |
| Norma Webb | .... | additional makeup artist | |
Production Management | |||
| Monika Kintner | .... | production manager: German production crew | |
| Anje Krutz | .... | unit manager: Germany (as Antje Krutz) | |
| Clare St. John | .... | post-production supervisor | |
| Claire Tovey | .... | unit manager | |
| Sara Desmond | .... | production manager: reshoots (uncredited) | |
Second Unit Director or Assistant Director | |||
| Vicki Allen | .... | additional third assistant director | |
| Sara Desmond | .... | second assistant director | |
| Carlos Fidel | .... | third assistant director | |
| Richard Styles | .... | first assistant director | |
| Sallie Anne Hard | .... | second assistant director: re-shoots (uncredited) | |
| Eliot Mathews | .... | third assistant director: re-shoots (uncredited) | |
| Alex Oakley | .... | additional second assistant director (uncredited) | |
| Chris Stoaling | .... | third assistant director (uncredited) | |
Art Department | |||
| Britta Albert | .... | prop buyer: Germany | |
| Bruce Barnes | .... | carpenter | |
| Mark Bewley | .... | plasterer | |
| John Burgess | .... | carpenter | |
| Gillian Campbell | .... | scenic painter | |
| Joe Casey | .... | plasterer | |
| Jamie Churchouse | .... | plasterer | |
| Raymond Churchouse | .... | head plasterer (as Ray Churchouse) | |
| Charlie Cobb | .... | art department assistant | |
| David Cooper | .... | carpenter | |
| Andrea Couch | .... | art department assistant | |
| Dan Crandon | .... | construction manager | |
| Hannah Crick | .... | scenic painter | |
| Quentin Davies | .... | stand-by props | |
| Michelle Day | .... | art department assistant | |
| Sophie Geliot | .... | scenic painter | |
| Rod Gorwood | .... | draughtsman (as Rob Gorwood) | |
| Claire Gould | .... | art department trainee: FT2 | |
| Chris Grace | .... | carpenter | |
| Ben Green | .... | carpenter | |
| Mark Guest | .... | stand-by props | |
| Paul Halter | .... | carpenter | |
| Martin Kelly | .... | art department trainee: FT2 | |
| Tim Leadley | .... | stand-by carpenter | |
| Warren Lever | .... | carpenter | |
| Chris Lightburn-Jones | .... | assistant construction manager | |
| Charlie Malik | .... | storeman | |
| Kam-Lan Man | .... | stand-by art director (as Kam Lan Man) | |
| Jane Matthews | .... | scenic painter | |
| Toby Neville | .... | carpenter | |
| Tim Powis | .... | carpenter | |
| Tim Powis | .... | foreman | |
| Jody Raynes | .... | scenic painter | |
| Beth Roberts | .... | dressing props | |
| Stuart Rushbrook | .... | carpenter | |
| Simon Scullion | .... | scenic painter | |
| Nick Slater | .... | stand-by carpenter | |
| Matthew Streatfield | .... | art department trainee: FT2 | |
| Paul Tappin | .... | plasterer | |
| Marc Telford | .... | carpenter | |
| Nick Thomas | .... | prop master | |
| Daniel Vernon | .... | art department trainee: FT2 | |
| Kip Walker | .... | dressing props | |
| Kellie Waugh | .... | prop buyer (as Kelly Waugh) | |
| John Weller | .... | supervising rigger | |
| Matthew Button | .... | carpenter (uncredited) | |
| Brendan Houghton | .... | storyboard artist (uncredited) | |
| Thomas Jones | .... | foam technician (uncredited) | |
| Mike Rawlings | .... | props (uncredited) | |
Special Effects by | |||
| Richard Conway | .... | special effects supervisor | |
| Sam Conway | .... | special effects technician | |
| Bob Hollow | .... | special effects supervisor | |
| Andrew Kelly | .... | special effects technician | |
| Stephen Paton | .... | special effects technician (as Steve Paton) | |
| Mark White | .... | special effects technician | |
| Nigel Nixon | .... | special effects senior technician (uncredited) | |
| Tez Palmer | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Peter Bach | .... | digital effects consultant | |
| Matthew Bristowe | .... | producer: MPC | |
| Greg Caplan | .... | visual effects executive producer: Clear | |
| Michael Elson | .... | head of production: MPC | |
| Richard Etchells | .... | Filmtel operator | |
| Moriah Etherington-Sparks | .... | visual effects production staff (as Moriah Sparks) | |
| Simon Fallon | .... | visual effects executive producer: Clear | |
| Symi Fuchs | .... | visual effects production staff | |
| Steve Garrad | .... | digital effects producer (as Steve Garrard) | |
| Josh George | .... | 3D animator | |
| Will Goodchild | .... | visual effects editor: video tape | |
| Tom Harding | .... | digital artist | |
| John Harvey | .... | 3D animator | |
| Jonny Hicks | .... | digital artist | |
| Simon Hutala | .... | digital artist (as Simon Huhtala) | |
| Tony Lawrence | .... | digital effects supervisor | |
| Begoña Lopez | .... | producer: MPC | |
| Andrew Merlino | .... | digital artist | |
| Hollie Moreton | .... | visual effects production staff | |
| Ben Murray | .... | digital artist | |
| Olly Nash | .... | 3D animator | |
| Matthew Packham | .... | Filmtel operator | |
| Jim Parsons | .... | digital artist | |
| Damien Raymond-Barker | .... | visual effects production staff | |
| Adrian Russell | .... | 3D animator | |
| Gary Sandbrook | .... | visual effects editor: video tape | |
| Jean-Clement Soret | .... | colourist (as Jean Clement Sorret) | |
| Aleks Ugarow | .... | digital artist | |
| Scott Winter | .... | visual effects editor: video tape | |
| Marcus Wood | .... | visual effects editor: video tape | |
| Melissa Agate | .... | data operator (uncredited) | |
| Simon Cox | .... | data operator (uncredited) | |
| Paddy Eason | .... | digital compositor (uncredited) | |
| Rob Hill | .... | data operator (uncredited) | |
| Sally Spencer | .... | data operator (uncredited) | |
| John Van Hoey Smith | .... | data operator (uncredited) | |
| David J. Zimmerman | .... | tape librarian: CLEAR (uncredited) | |
Stunts | |||
| Tom Aitken | .... | stunts (as Tom Aitkin) | |
| Dani Biernat | .... | stunt performer | |
| Dani Biernat | .... | stunts | |
| George Cottle | .... | stunts (as George Cottle Jnr.) | |
| David Cronnelly | .... | stunts | |
| Richard Dwyer | .... | stunts | |
| Amanda Foster | .... | stunts | |
| Eunice Huthart | .... | stunts | |
| Rowley Irlam | .... | stunts | |
| Charles Jarman | .... | stunts | |
| Kim McGarrity | .... | stunts | |
| Ray Nicholas | .... | stunts fire safety | |
| Peter Pedrero | .... | stunts | |
| Andreas Petrides | .... | stunts | |
| Gary Powell | .... | stunts | |
| Nick Powell | .... | stunt coordinator (as Nicholas Powell) | |
| Seon Rogers | .... | stunts (as Séon Rogers) | |
| Gordon Seed | .... | stunts | |
| Colin Skeaping | .... | stunts | |
| Julian Spencer | .... | stunts | |
| Len Woodcock | .... | stunts (as Lenny Woodcock) | |
Casting Department | |||
| Maureen Duff | .... | casting assistant | |
| Louis Elman | .... | adr voice casting | |
| Robin Hudson | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Charlotte Child | .... | costume assistant | |
| Anne Lavender-Jones | .... | wardrobe supervisor | |
| Esme Young | .... | costume maker | |
Editorial Department | |||
| Emanuele Giraldo | .... | editor trainee: FT2 | |
| Nick Packer | .... | assistant editor | |
| Jean-Clement Soret | .... | colorist (as Jean Clement Sorret) | |
| Martin Walsh | .... | color timer | |
| David Bernstein | .... | colorist: high definition mastering (uncredited) | |
| Joanna Garrard | .... | assistant editor (uncredited) | |
| Steve Harrow | .... | post-production consultant (uncredited) | |
| Richard Rowntree | .... | assistant to post-production controller (uncredited) | |
Music Department | |||
| Hugo Adams | .... | music editor | |
| Nicole Catino | .... | music coordinator: Avenger Entertainment | |
| Simon Denny | .... | score engineer | |
| Daniel L. Griffiths | .... | score mixer | |
| Daniel L. Griffiths | .... | score producer | |
| Lee Herrick | .... | music editor | |
| Mike Hunter | .... | music recordist: strings and choir | |
| Andrew Price | .... | musician: strings | |
| Barrie Robinson | .... | music coordinator: Avenger Entertainment | |
| Laura Ziffren | .... | music consultant (as Laura Z. Wasserman) | |
Transportation Department | |||
| Mike Beaven | .... | unit driver | |
| Roy Clarke | .... | unit driver | |
| Simon Hudnott | .... | unit driver | |
| Jara Pohnitzsch | .... | driver: Germany (as Jara Pöhnitzsch) | |
| Ceva Ural | .... | driver: Germany | |
| Keith Winyard | .... | stand-by driver: props | |
| Ulrich Bohnefeld | .... | driver: Germany (uncredited) | |
| Mandula Hilf | .... | driver: Germany (uncredited) | |
Other crew | |||
| Jennifer Allen | .... | aerial unit operations | |
| John Almond | .... | paramedic | |
| Tom Bayliss | .... | rushes runner | |
| Carey Berlin | .... | assistant to producer | |
| Volker Beyer | .... | location controller | |
| Sophie Burden | .... | catering manager | |
| Sally Burns | .... | chaperone | |
| Jo Cameron Brown | .... | voice coach | |
| Henry Camilleri | .... | military advisor | |
| Donna Casey | .... | accounts trainee: FT2 | |
| Caroline Chapman | .... | floor runner | |
| Sarah Clark | .... | unit publicist | |
| Matt Dalton | .... | post-production accountant | |
| Emma Dawson | .... | production assistant: DNA Films | |
| Candice Fonseca | .... | production coordinator | |
| Alex Gladstone | .... | location manager | |
| Theodore Goddard | .... | production legal services | |
| Jim Hajicosta | .... | production accountant | |
| Matthew Horrocks | .... | production runner | |
| Sylvia Hudlemaier | .... | chimpanzee trainer | |
| Thomas Hudlemaier | .... | chimpanzee trainer | |
| Christian Hünemörder | .... | production services: Germany | |
| Lisa Inman | .... | continuity trainee: FT2 | |
| Michael Jungfleisch | .... | production services: Germany | |
| Pat Karam | .... | location manager | |
| Ged Lynch | .... | drums & percussion (as Ged 'God' Lynch) | |
| Jill McCullough | .... | voice coach | |
| Sarada McDermott | .... | production secretary | |
| Maggie Murray | .... | accounting assistant | |
| Ben Nicholas | .... | cutting room assistant | |
| Stephen North | .... | helicopter safety engineer (as Steve North) | |
| Dan Palmer | .... | assistant accountant | |
| Nina Pickford | .... | tutor | |
| Craig Pinney | .... | production assistant | |
| Elvis Plese | .... | runner | |
| Rima Schmidt | .... | accounts assistant: Germany | |
| Jemma Scott-Knox-Gore | .... | contact lenses (as Gemma Scott) | |
| Faujja Singh | .... | armorer | |
| Cory Smith | .... | catering assistant | |
| Joanne Smith | .... | general manager: DNA Films | |
| Eve Spence | .... | script supervisor | |
| Paul Swann | .... | laboratory contact | |
| Tracey Tucker | .... | assistant location manager | |
| Simon Warne | .... | chef | |
| Sarah Wiener | .... | caterer: Germany | |
| Hayley Williams | .... | production runner | |
| Birgit Wollny | .... | production coordinator: Germany | |
| Dave Evans | .... | armorer: boot camp (uncredited) | |
| Darren Helman | .... | location assistant (uncredited) | |
| Carlton Jarvis | .... | medical advisor (uncredited) | |
| Carlton Jarvis | .... | medical special effects (uncredited) | |
| Oliver Kersey | .... | set production assistant: dailies (uncredited) | |
| Jamie Lengyel | .... | location manager (uncredited) | |
| Ian Lisi | .... | facilities (uncredited) | |
| Christian McWilliams | .... | location manager (uncredited) | |
| Jeremy Pelzer | .... | studio manager 3 Mills (uncredited) | |
| Alexander Xavier Ponce-Bonano | .... | production assistant (uncredited) | |
| Paul Ralph | .... | production assistant (uncredited) | |
| Sascha Robey | .... | weapons armorer (uncredited) | |
| Katryna Samut-Tagliaferro | .... | production coordinator (uncredited) | |
| Penny Skuse | .... | liaison: film commission (uncredited) | |
| Tom Stourton | .... | location assistant (uncredited) | |
Thanks | |||
| Cornell Chin | .... | thanks | |
| Walter Donohue | .... | thanks | |
| Masahiro Hirakubo | .... | thanks | |
| Alwin H. Küchler | .... | thanks (as Alwin Kuchler) | |
| Chris Lane | .... | thanks | |
| Elaine Lane | .... | thanks | |
| Lois Lane | .... | thanks | |
| Tom Miller | .... | thanks | |
| Richard Whelan | .... | thanks | |
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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.