Title: 28 Days Later
Year of Release: 2002
Director: Danny Boyle
Length: 113 mins
Starring: Cillian Murphy, Naomie Harris, Christopher Eccleston, Noah Huntley
Few post-millennium horror movies have generated as much debate and column inches as 28 Days Later. Based on the novel by Alex ‘The Beach’ Garland, it is often credited with kick-starting an ailing zombie genre as well as breathing life into a British film industry which had become saturated with warm, fuzzy Love Actually cash-ins. In 2007, Stylus magazine voted it the second best zombie movie of all time (after Dawn of the Dead) while a poll in Time Out magazine a decade later ranked it the 97th best British movie of all time. Director Danny Boyle has been involved in some of the most iconic British movies in history. His career started in earnest with cult classic Shallow Grave in 1994. He then directed Trainspotting, A Life Less Ordinary and The Beach, before slotting 28 Days Later on his cv. Afterwards, he went on to produce the sequel, 28 Weeks Later, as well as direct Slumdog Millionaire, 127 Hours, and the acclaimed biopic, Steve Jobs. He won widespread acclaim for making the zombies in 28 Days Later ‘fast,’ as opposed to the kind of shambling oddities popularized by George A Romero’s genre-defining zombie films, which proved all the more terrifying.
The film opens with archival footage of riots, chaos and atrocities, setting the tone nicely for what follows. The main story arc begins in earnest when a group of animal rights activists break into a research facility to free some chimpanzees. However, unbeknownst to them, the chimpanzees aren’t cute and cuddly any more. Far from it. They’ve been infected with a rage-inducing virus, and once freed they waste no time setting about the activists who then go on to infect everyone else. 28 Days later (geddit?) injured bicycle courier Jim (Murphy, allegedly third choice for the role behind Ewan McGregor and Ryan Gosling) awakes from a coma in a hospital to find it deserted. Walking out into London, he finds much the same state of affairs. The streets are empty, cars and shops have been abandoned, and there are no people. Anywhere. He finds a newspaper telling of an evacuation, stumbles across a church where a mass suicide seems to have taken place, and is then attacked by a priest, who he whacks upside the head with a carrier bag full of Pepsi cans, all of which must be very unsettling for the poor guy. He eventually runs into a pair of survivors (Harris and Huntley) who tell him of an outbreak which has led to a nationwide, and possible worldwide societal collapse. After a miss-hap during which one of the trio is killed, the others hook up with a taxi driver and his daughter and they decamp for Manchester, where they hope to find the, ‘answer to infection.’ They are eventually taken to a fortified compound by a group of soldiers, where the ‘answer to infection’ isn’t what they thought it was. Instead of salvation, they are faced with oblivion.
The last half an hour or so offers a bleak yet well-observed and perfectly plausible assessment of what life might actually be like if (or when) the apocalypse comes and people regress to ‘kill or be killed’ mode. It’s interesting to note that fellow survivors pose more of a threat than the undead, this theory being at the very core of survivalism. Boyle ingeniously inserts flashes of the narrative from The Beach here, in that the focus is on a fractious group struggling to establish an alternative society under constant threat of attack, whether it be from outsiders, sharks, armed drug dealers, or these ‘fast’ zombies.
28 Days Later is famed for its depiction of post-apocalyptic London, which was achieved largely by filming early on Sunday mornings and shutting off sections of the city for short periods to minimize disruption. The ending is a hastily re-hashed alternative. The original, which hinged on the death of a major character, was deemed by test audiences to be too bleak. It’s an apocalyptic horror film for crying out loud. It is, however, one of several available as bonus content on some DVD and Blu-ray releases.
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The Millennium Stadium in Cardiff, Wales, doubled for the interior of Wembley Stadium because at the time of filming, the ‘new’ Wembley was still under construction. Visual effects were used to turn the seats the right colour.
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