Implausible probably, but we've never really seen an apocalyptic series that attempts to go back and restart civilization from the same area. Of course, apparently it was a good idea for the military to reoccupy London and start building up a civilization again, even though it was the center of disaster only a half a year earlier. 28 Weeks Later picks up after London is deemed safe and virus free, as the undead have starved to death after the events of the previous film. Similar to how the Cloverfield films are related but not directly tied in, 28 Days Later is a prequel of sorts, but the characters and plot are entirely different. There's something so glorious about seeing the streets of London be a wasteland that only occupies a select few living and undead. But there's something about the '28' series that really hits well for me. It’s a visceral heart-pounder and a topical reminder of viral danger.The 21st century has been flooded with films and TV shows about zombie apocalypses, so it's difficult for any of them to stand out and feel completely fresh. By targeting the aftermath of the infection and its widespread chaos, the sequel offers hope married to the looming reality of another wave. Whatever comes next, 28 Weeks Later was an evolutionary step for horror films, confidently building on the foundation of Boyle’s masterpiece to create something frighteningly fresh. (Garland also took the opportunity to settle the debate over whether his infected are “zombies” or not. 28 Days Later screenwriter Alex Garland has recently said he has a "bigger idea" for a third film he's considered during conversations with Danny Boyle, but nothing concrete has emerged. Will there ever be a third installment of the franchise? The zombie craze may have played itself out with The Walking Dead, Fear The Walking Dead, World War Z, and even the Netflix zombie heist movie Army of the Dead, but these things cycle in and out of popularity. ![]() There’s also political commentary that adds context to society’s fracturing and the distortion of our core values, although American soldiers running London as a clunky Iraq War analogue has aged less well. It may lack the indie vibe of its predecessor, but it still feels like you’re right there with the action.Īnd Fresnadillo, who only had one feature under his belt, capably approached the task of pushing the envelope with professional flair and an ever-thickening atmosphere of lurking dread. Its deft camera work comes courtesy of cinematographer Enrique Chediak, who gives the project a ground-zero ferocity akin to a war correspondent’s first-hand account of an especially vicious pandemic. Witnessing an army chopper mowing down charging zombies with its rotor blades will remind you why this film is so revered by splatter aficionados, and let’s not forget the stumbling trek through corpse-strewn subway tunnels captured by a night-vision scope. It’s a bloodier and often grimmer ride than 28 Days Later, one that not only expands on the first film’s themes but also manages to stand on its own merits as an effective sci-fi thriller dosed with heart-wrenching drama and buckets of blood. It’s a juggernaut of elegant horror, from the unforgettable opening of a quiet dinner interrupted by a ravenous zombie swarm to the shock and awe of London being bombed and the intimate nastiness of Robert Carlyle’s character feasting on his wife. ![]() Where 28 Days Later revels in its stark intimacy and cinema-verité heritage, 28 Weeks Later opens the canvas of this nationwide calamity and delivers a visceral gut-punch of orchestrated action sequences. But as refugees filter back onto the island, one survivor is carrying a mutated form of the disease that’s even more deadly. Citizens are allowed back into a protected safe zone for reconstruction, order is finally restored, and life slowly returns to normal. The plot picks up six months after the original zombie epidemic swept through the British Isles, wiping out the majority of the population. ![]() A pre-Hawkeye Renner makes for one of the film’s more notable stars.
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