![]() Ditching the idea that zombies lumber, here they sprint, leap over cars and put in a vicious fight. ![]() Likewise, whilst swathes of the film are relaxed and even gentile, Boyle captures his athletic infected with a chaotic and heart racing brutalism. At one point, a terrific Harris vehemently hacks her companion to death simply because she suspects he might have been infected. That said, this is not a film short on gore and shocking violence. Of course, it should come as no surprise that a Danny Boyle horror has abundant empathy. That aforementioned lesser film would likely have interrupted his tears by having his rotting mother leap from the bed behind him in attack. In one scene, Jim is allowed to properly mourn the loss of his parents and does so with emotional sincerity. Rather than pitting characters against continuous onslaught, this is the sort of horror that takes time to breathe. He his saved first by Mark (Noah Huntley) and Selena (Naomie Harris), before later meeting Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns). On a journey that will lead to an Orwellian military settlement outside Manchester, Jim engages in a succession of meaningful encounters. ![]() It is only when he disturbs a Hans Melming inspired nest of zombies that his lonely existence becomes a threatened one. In a brilliantly executed sequence of near silence, Jim passes by a succession of baron London landmarks but encounters no one. Having spent the prior twenty-eight days in a coma, Jim (Murphy) wakes naked in St Thomas’ Hospital to find the building and city beyond it deserted. Whilst a more obvious feature – read: Resident Evil – might have followed the viral spread from isolated incident to national epidemic and beyond, Garland’s twist is to jump forward a month to the desolate aftermath. One nasty bite later and the humans are infected. Sure enough, when a trio of animal rights protesters attempt to free the apes, we learn that each carries a highly infectious ‘rage’ contagion, which is transmitted through bodily fluids. The point being that living humans are quite capable of bringing about their own destruction, without the aid of aliens of the undead. ![]() It’s a visual triumph, sizzling political allegory and thoroughly engaging advancement of genre iconography.įrom a first-time script by novelist Alex Garland – later of Ex Machina and Annihilation renown – Boyle opens with a stall-setting montage of riot footage, which, a pan out reveals, is being screened to chimpanzees at a Cambridge research centre. Starring a – then – little known Cillian Murphy as a man who wakes from an operation to find his world ravaged by zombies, the film welds a found footage aesthetic and moderate pace with bursts of frenetic energy. Romero’s Dead meets Wyndham’s Triffids in 28 Days Later, the humanist post-zombie-apocalyptic drama from Danny Boyle. Look out for a new classic review daily across the month on The Film Blog, as well as more special treats along the way!ĭay twenty-six skips the apocalypse to explore the aftermath 28 Days Later. This October, we’re celebrating some of the best horror films ever made.
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