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While not technically a zombie flick, it contains enough elements to be
superficially classed as one, and a mostly decent one at that, with only a
weak third act spoiling the overall impression. It manages to tip its hat
to the genre greats of Romero while adding enough of a spin of its own to
make it stand out. That spin comes in the shape of the monsters themselves
who, being virally mutated as opposed to the living dead, have a trick up
their sleeves - they can run. While this may not sound like an earth
shattering skill to possess, it gives them a distinct advantage over
traditional zombies from which, if people in horror movies had any sense
(which they never do) they would just have run away. Now though, the
bastards can catch you.
The source of the mutation is a research centre where activists intent on
freeing laboratory chimps unwittingly release a vicious plague. Cut to 28
days later and Jim waking up in a hospital bed. As he wanders the empty
corridors and heads out on to the street, he sees no sign of life anywhere.
Remember the scene in Vanilla Sky where Tom Cruise stands alone in a
deserted Times Square? Picture that image extended to the whole of London
and you'll get an idea of how stunning these shots are.
He gradually learns of the events of the previous four weeks, as the
infected quickly multiplied and the cities were evacuated. He meets another
survivor, Selena, who warns him of the dangers they face, plus Frank and
his teenage daughter, Hannah. Together they travel north in search of an
army base they received a signal from, all the time trying to stay well out
of the reach of the monsters (as Moe said in the classic Treehouse of
Horror episode The Homega Man, "We don't like the word 'mutants' Homer. We
prefer 'freaks'.")
For the first hour or so, 28 Days Later truly is the stuff of waking
nightmares. The infected represent a genuinely scary threat and there's
enough splattery action to keep hard core horror fans happy. There are also
some remarkably poignant and mournful moments as the palpable sense of
desolation, desperation and isolation seeps through. It's a vision of
apocalypse that, in terms of tone, shares much with
Reign of Fire.
Unfortunately it all begins to fall apart in the last half hour when events
take an unexpected but feasible and equally disturbing turn, although the
action is upped considerably to compensate. With the addition of a
misjudged ending, it's a slightly wasted opportunity.
In terms of acting, Murphy impresses in the main role. I'd seen him
previously in a couple of Irish films where he'd played mentally unstable
characters, and these roles seem to have been good practice for him here,
as he tries to come to terms with the new world order with a mixture of
disbelief and rage. Another Irishman, Gleeson, an underused actor, offers
solid support, but the best stuff comes from Eccleston, all public school
manners and suppressed menace.
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Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
