28 Days Later begins in a science lab, where animals rights activists break in and free a screaming, cage-rattling chimp. Little do they know that it's been infected with a virus called Rage or that it will repay their kindness by attacking them. The ape's blood and saliva transmit Rage to the human population, turning the infected into angry, twitchy, blood-spewing maniacs who exist only to tear human flesh apart, thus further spreading the infection.
The film technically doesn't feature any zombies of the living-dead variety, but it could hardly but classified as anything but a zombie movie. There is no cure for Rage and it's victims permanently shed their humanity mere seconds after they're infected, making them little different from undead flesh-eaters. While they chase down their prey, the infected look like freshly dead zombies too - varicose veins, bloodshot eyes, blood flowing from the eyes, nose and mouth. Director Boyle and writer Alex Garland admitted to drawing inspiration from George A. Romero's Dead film series, and in a few places it's obvious, like when they introduce a fanatical major who threatens anyone who challenges his authority and keeps a Rage-infected soldier in chains a la Bud in Day of the Dead (1985). In fact, 28 Days Later was marketed as a "reinvention" of the zombie subgenre. Whatever it is, it's a masterpiece.
When comatose Jim wakes up in the hospital, he is alarmed to discover that everyone in the city has disappeared. The suspense builds as Murphy wanders the desolate streets of downtown London, passing recognizable locations normally bustling with people. Viewers know that the people have to be hiding somewhere and that something bad will ultimately occur. Thus Boyle expertly amps up the tension and mystery before an impressive reveal in a local church. From that moment on, Murphy and a small group of survivors attempt to survive the attacks of the infected, aware that any contact with their bodily fluids will cause a near instantaneous turn. Along the way, there are surprises and some shocking intense scenes. But in between, there's still time for philosophical debate and psychological subtext as Murphy's character comes to terms with the deaths of his family and friends.
Many of the secondary characters serve as surrogate fathers for Murphy, until his character comes to grips with his predicament and takes control of his own destiny.
The film technically doesn't feature any zombies of the living-dead variety, but it could hardly but classified as anything but a zombie movie. There is no cure for Rage and it's victims permanently shed their humanity mere seconds after they're infected, making them little different from undead flesh-eaters. While they chase down their prey, the infected look like freshly dead zombies too - varicose veins, bloodshot eyes, blood flowing from the eyes, nose and mouth. Director Boyle and writer Alex Garland admitted to drawing inspiration from George A. Romero's Dead film series, and in a few places it's obvious, like when they introduce a fanatical major who threatens anyone who challenges his authority and keeps a Rage-infected soldier in chains a la Bud in Day of the Dead (1985). In fact, 28 Days Later was marketed as a "reinvention" of the zombie subgenre. Whatever it is, it's a masterpiece.
When comatose Jim wakes up in the hospital, he is alarmed to discover that everyone in the city has disappeared. The suspense builds as Murphy wanders the desolate streets of downtown London, passing recognizable locations normally bustling with people. Viewers know that the people have to be hiding somewhere and that something bad will ultimately occur. Thus Boyle expertly amps up the tension and mystery before an impressive reveal in a local church. From that moment on, Murphy and a small group of survivors attempt to survive the attacks of the infected, aware that any contact with their bodily fluids will cause a near instantaneous turn. Along the way, there are surprises and some shocking intense scenes. But in between, there's still time for philosophical debate and psychological subtext as Murphy's character comes to terms with the deaths of his family and friends.
Many of the secondary characters serve as surrogate fathers for Murphy, until his character comes to grips with his predicament and takes control of his own destiny.
In a milestone for the film industry, 28 Days Later was one of the first digital video productions to be picked up for distribution by a major studio (Fox), and one of the first films to be shot in digital video and not look completely amateurish. The format actually serves the movie well; combined with the cast of mostly relative unknowns, it lends a documentary feel to the proceedings. But the film crew's most impressive trick was to turn London into a desolate wasteland. Unable to empty the streets for more than 90 seconds at a time, they would set up multiple cameras to shoot as much footage as they could in as little time as possible! According to the filmmakers, they would arrive at a recognizable location, shoot quickly, sometimes over as short a period as 15 minutes, and move on.
The movie was a huge international success, grossing $45 million in the United States and Canada and nearly $83 million worldwide by the end of it's theatrical run.
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