Skip to main content

Empire List #456: 28 Days Later


Jim (Cillian Murphy) wakes up from a coma in a London hospital. He is surprised to notice the ward is empty. As he walks around he realises the entire building is deserted. When he steps outside it becomes clear London is a ghost town. What has happened? Animal activists have accidentally released a virus that turns people into raging zombies, and now, 28 days later, Jim’s nightmare is just beginning.

Danny Boyle’s “28 Days Later” came out in 2003, just when I had moved back from South America to Quebec. That was a great year for me in terms of movies, since I could now watch movies in the theatres at the same time as everybody else in North America. For some reason, movies released in the U.S would sometimes come out six months later in Peru. Not so in Quebec, but unfortunately most of the movies are dubbed in French.

Since I wanted to experience the horror in its original language, and since back then my mom was subscribed to the Movie Network, I just had to bid my time. First I saw the previews on TV calling this one of the scariest movies of all times. Then it came out on DVD, which advertised shocking alternate endings. Then there were the previews for pay-per-view. Then finally, one evening after school, it was playing on the Movie Network. It was uncut and commercial free, just the way I like it. I didn’t get any DVD bonus features, but if you wait until after the end credits, you get to see one of the alternate endings.

“28 Days Later” is a perfect movie to watch alone at night in a basement. The zombies are scary enough to give you a jolt whenever they barge in screaming from a dark corner. Unlike the movies of horror master George A. Romero, these zombies can run, and boy, are they fast when they see a prey. That was always the flaw in the Romero movies: the zombies were so slow that all you had to do was run away from them and not get cornered. But the monsters in Danny Boyle’s movie are not the walking dead. They have been infected by a virus that keeps them alive but in a permanent state of rage. If one tiny drop of infected blood gets into your bloodstream, 20 seconds later you are a snarling, raging creature.

These details are explained to Jim by Selena (Naomi Harris) and Mark (Noah Huntley), two survivors who have had to set their morals aside in order to survive. This becomes abundantly clear to Jim when Selena kills Mark in cold blood after he is scratched during a fight with an infected.

There is a glimmer of hope out of this nightmare when Jim and Selena meet two more survivors, Frank (Brendan Gleeson) and his teenage daughter Hannah (Megan Burns). They live in a fortified apartment, but they are running low on supplies. Frank suggests they take their chances on the road and head towards a military base that offers salvation, according to a radio broadcast. Frank has one of those black London cab, so the four of them will have an advantage over the hordes of infected waiting for them when darkness falls.

It makes for quite a scary road trip, but there is room to breathe. There is a funny sequence when the group stops at a grocery store and fulfil everyone’s long-time fantasy of filling a shopping cart with all of the best items. Best of all, there is no need to pay for anything. It’s pretty clear the grocer is elsewhere.

A truly scary sequence occurs when the cab is blocked in an underground tunnel. As the group tries to clear the way, you can hear the infected running towards them, screaming like demons. This is one of those moments when as an audience member you feel like screaming, “Get out of there! The monsters are coming!”

Even when characters are alone in the woods there is tension. You just never know when an infected might jump out at them without warning.

Eventually the survivors find the soldiers. Their commander is Major Henry West (Christopher Eccleston) who, at first, seems reassuring but has a hidden agenda. An obvious warning sign is the fact that he keeps an infected soldier in his backyard chained like a dog. He says the point is to learn about the infected, but it says a lot more about Major West than it does about the infected.

“28 Days Later” reinvented the zombie movie while at the same time staying faithful to its traditions. It does a wonderful job of creating a world that has been decimated by a viral outbreak. As Jim walks through an abandoned London, it truly looks the city that we have either seen in news footage or in real life. The movie also shows how, during a crisis, people will behave at either their best or their worst.

The infected are scary because you know they will mangle and infect you. People are scary because you don’t know what they will do once law and order goes out the window.

(Note: The sequel, “28 Weeks Later” was equally intelligent. It served as a metaphor for the war in Iraq.)  

  



Comments

Popular posts from this blog

Empire Magazine (2008) Greatest Movies List - #70: Stand by Me

Another clear influence on Stranger Things, Rob Reiner’s Stand by Me (1986) portrays American kids from a lost era in which they could go on an adventure away from home. Nowadays if children go missing for more than an hour parents try to locate them using cell phone apps, but in the story written by Stephen King four boys in 1959 Oregon go walking in the woods during a long weekend to look for, of all things, a dead body. Their lives are sometimes at risk, they have no way of communicating with their parents, but they will definitely have a story to remember for the rest of their lives.
For many North Americans adults this movie fondly reminded them of a time in their childhood despite the inherent danger. Not so for me since, first of all, there was no time in my childhood when I could possibly go out of the house for more than three hours without my mom getting in her car to go look for me. The there is the fact that I spent a good chunk of my childhood living in Chile and Peru, an…

Empire Magazine (2008) Greatest Movies List - #77: Spartacus

Spartacus (1960) is an interesting movie in Stanley Kubrick's filmography because it doesn’t really feel like a Stanley Kubrick movie. I don’t exactly know why, but his signature style doesn’t seem to be present unlike in classics such as The Shining, A Clockwork Orange, or Dr. Strangelove. It does however feel like one of those big sword-and-sandals epics in which you have British thespians acting as Roman politicians with the occasional big battle sequence. In that respect it is spectacular and features Kirk Douglas at his best as the titular hero.
The story of the rebel slave Spartacus has inspired a bloody and sexy TV series (so far unseen by me, but I hear it’s great) and the story behind how it was made is one of those cases of life imitating art. The Bryan Cranston film Trumbo tells how screenwriter Dalton Trumbo was blacklisted in Hollywood during the 1950s for his communist beliefs and had to rebel against the system by writing screenplays for cheap movies under a fake nam…

Empire Magazine (2008) Greatest Movies List - #79: The Thin Red Line

I once saw an interview in which Christopher Plummer said that what Terrence Malick needs is a writer. He was referring to his experience shooting The New World, which saw his role considerably reduced. The same happened to a much greater extent with Malick’s war movie The Thin Red Line (1998), which saw the screen time of many movie stars reduced to mere minutes amid a 170-minute running time. However you have to hand it to the guy: he knows how to make anything look beautiful, including the carnage of war.
Malick’s movie came out the same year as Saving Private Ryan, so I think that year I had my fill of ultra violent war films and was no too interested in seeing it. Sixteen years later I finally caught up to it on Netflix, but in hindsight the big screen might have been a better option since this is a very visual story. The plot is pretty loose, following one American soldier and sometimes some of his brothers in arms as they make their way through World War II in the Pacific theat…