Movies that are slightly off.
28 Days Later...
His fear began when he woke up alone. His terror began when he realised he wasn't.
Twenty-eight days after a killer virus was accidentally unleashed from a British research facility, a small group of London survivors are caught in a desperate struggle to protect themselves from the infected. Carried by animals and humans, the virus turns those it infects into homicidal maniacs -- and it's absolutely impossible to contain.
All of this was new in 2002. Saying that this isn't new is like saying that Citizen Kane's cinematography is old.
My favorite movie in the zombie or horror genre.
Signifying the dawn of a new era of post-apocalyptic horror, Danny Boyle's 28 Days Later... is the biggest leap zombie horror has taken ever since George A. Romero established the sub-genre in 1968 with Night of the Living Dead. The film discards the now outdated concept of reanimated corpses & replaces it with a contemporary idea of a viral epidemic, thus changing the supernatural phenomenon into a psychological one.
The movie opens with a prologue that teases with the origin of a highly contagious virus which amplifies the rage behaviour in infected humans, thus turning them into aggressive, zombie-like beings. The story concerns Jim who wakes up in an abandoned hospital 28 days after the disease outbreak only to find the…
Sunday Morning Review!
Staying alive's as good as it gets.
In the early 2000's horror was at an odd place. Without knowing it, the world of horror was moving towards remakes, reimaginings, and found footage gags, so there were a few key films that threatened to change the pace of horror films to come and shake up the norm a bit. While 28 Days Later was a familiar sub-genre, it was pulled off in a unique fashion and managed to have remarkably human emotions in a film populated by snarling, bloody infected husks.
Danny Boyle drops us right in the middle of the apocalypse without showing the beginning panic and the failure of military, but instead like we are just…
What I have always loved about the early Romero zombie films is that they were always more than mindless horror films, they were riddled with religious themes, social commentary and asked questions about human nature. And they were sufficiently gory and disgusting to boot.
Boyle's film transports that approach to the 21st century, amping up the adrenaline, touching on some tough subjects and covering it all in a, by now, recognisable Boyle sauce.
The first half of the film is a frenetic escape from an infected city and while it is never really scary, it most definitely is tense. That has a lot to do with this film's interpretation of the zombies. They are perhaps not zombies in the traditional…
Not Quite Hoop-Tober: Day 6
Danny Boyle's 28 Days Later used to be one of my all-time favorite zombie movies, but whether I've finally seen it too many times or my tastes have shifted since the last time I saw it, I find myself falling out of love. Boyle's story about a man who wakes up in the middle of the apocalypse still has its merits, but on this visit I felt its strengths almost overwhelmed by the weaknesses in between them.
Three scenes I still love:
1. The whole opening sequence with Cillian Murphy walking the empty streets of London. It's wonderfully atmospheric, and the wide angle presentation of the vacant city even surpasses 1971's The Omega Man in…
The Zombie genre was going through a bit of a lean time when this new and vibrant twist on the horror concept found an audience back in 2002. Giving us a mix of horror and high-adrenaline action sequences that are truly frenetic and pulse-inducing, this film was more than just a run of the mill gore fest.
Danny Boyle's zombie-apocalypse starts with some of the finest shots of a deserted London ever put on film. Following an attack on a research facility by animal activists, infected monkeys bring carnage to the human population as the "Rage Virus" turns mankind into raging beasts with a blood-lust. At the center of the story is Jim (Cillian Murphy). A bike courier who has…
A very solid entry into the zombie horror genre, introducing fast zombies in a very effective, scary way. It suffers a little now because the digital stock looks grainy and yellow compared to more modern digital cameras, but those scenes of empty London remain totally effective.
I think this was when I started thinking zombie movies are taking a new angle, instead of just being walking corpses. I like the idea of a rage virus used on monkeys. Why would you even make such a thing? It's so ludicrous to think that humans would do that but it's so typically human nature as well. It really has a way of putting you right in the apocalypse with realistic settings. When this first came out I remember seeing a Christmas tree built around a telephone pole in Seattle made of shopping carts. That's how influential this movie is. It adds some survival elements, like raiding the supermarket, that I liked. And the zombie rats. Great idea! Pretty epic music too.
An exciting zombie/horror movie that focuses as much on character development and how they cope as it does with the brilliant atmosphere. A genuinely creepy setting and a very realistic-feeling story. Abandoned London looked awesome.
The aesthetic stood out more than anything else this time around.
Being spoilt by Blu Rays and 4K cinema screens, I noticed now more than ever just how grainy this film is.
It works in the film's favour, making it that bit grittier and realistic. But, yeah, there are shots in this that are so out of whack, I'm not sure what I'm meant to be looking at.
Once my eyes adjusted, though - like 10 minutes in - I was straight into it. It really doesn't let up, even when they're larking around in a supermarket, the film moves at a pace not unlike the zombies.
It does falter just a little bit when Eccleston and co come into…
I felt in the mood for some more doomsday after Contagion and this is not a bad one for that. Probably one of the better zombie/infected movies out there.
Relentlessly intense and unwavering, dramatic, horrific.
Although the shot composition and overall aesthetic felt a bit overbearing at times, enough to take you out of the film.
Times that could've been more powerful with silence were suffocated by the (otherwise brilliant) soundtrack.
Tilted angles were nice when utilized for character psychology and intensity but at other times were needless.
All in all, a very good zombie movie that seems familiar in its characterization but overall offers more than your average.
I appreciate that Danny Boyle takes a different spin on a setting compared to what the standard is in todays oversaturated market, where zombies have slowly been watered down from their analogous origins. Here there is a sense that the movie was allowed time to set up atmosphere, a sense of despair and to establish characters rather than stuffing it with action sequences. Instead we get the action delicately placed to keep the tension and as a result we have something that works for both general audiences and those who perhaps want something more thematic or cerebral.
Although the movie loses a part of me in the third act and ends up leaving those promises unfulfilled by instead choosing the…
This was a rewatch at a Secret Cinema event in London, but I am only marking the film, not the event. Hadn't seen it since it first came out and on rewatching I realised that it isn't a zombie film. There aren't enough of them and they don't look like proper zombies.
What is most fascinating about 28 Days Later is (you've probably heard this a thousand times before) the pure directorial ability shining beyond the limited scope and range of the digital medium - Danny Boyle's longtime collaborator Anthony Dod Mantle is a man with roots in the Dogme 95 movement, and finally the stylistic concerns of Boyle and the dramatic concerns of Dogma 95 meet in the middle in a half Dogma/Thriller split.
During the film, Boyle goes out of his way to portray moments of ecstatic escapism, contrary to the aims of Dogma but this hybrid shines through and coincidentally puts the director on a pedestal (a clear contradictory aim of Dogma). With restricted dynamic range of the camera…