28 Weeks Later Isaidub - Newsarticleinfo
Things to Come (1936), one of the great science-fiction movies, HG Wells conceived of a war breaking out in 1940 and continuing until the 1960s. By that time, most of the world would be reduced to a wasteland where thousands of contaminated, zombie-like people suffering from the 'wandering disease' stalk the land and are shot on sight by more fortunate survivors. He called his principal setting Everytown, which was, in fact, a studio set composed of familiar London landmarks brought together around Piccadilly Circus. 28 Weeks Later, a sequel to 28 Days Later, repeats this scenario, except that, as the title suggests, the time scale has telescoped and, unlike Wells's vision, there is no third act in which the world is rebuilt.
28 Weeks Later is the second full-length movie by Spanish director Juan Fresnadillo, whose accomplished feature debut, the brilliant allegorical thriller Intacto, I thought underrated. I think his new film is superior to 28 Days Later, whose director Danny Boyle here functions as co-producer. In that film, a holocaust is triggered by animal-rights activists releasing apes from a Cambridge laboratory where scientists are experimenting with a deadly virus. In a matter of days, flesh-eating zombies have taken over the country, leaving a few survivors in London and a handful of soldiers outside Manchester.
This sequel begins in media res, assuming we know the earlier film, and there's a palpable sense of doom as three generations of Britons live on hoarded food in a boarded-up, candlelit house. Only when a door is opened do we realise there's bright sunshine in the green and pleasant countryside outside. Suddenly, a ferocious horde of crazed creatures attacks; they are as terrifying but much more agile than their counterparts in George Romero's Night of the Living Dead. A bravura five-minute sequence follows that includes rapidly edited close-ups of shock and gore and a tracking shot from a helicopter of Don (Robert Carlyle) running for his life. To add to the terror, he's deserting his wife.
After this shattering opening, we relax as a factual montage carries us through the various stages of the national catastrophe. Twenty-eight weeks later, the virus has run its course and everything is under control. The American army has arrived, turned Canary Wharf and the Isle of Dogs into a green zone, and is beginning the process of rehabilitation. When we hear the words 'rehabilitation' and 'green zone', we immediately think of Iraq and rightly assume it to be ironic. After all, we've come to see a horror flick, not a film in praise of the last superpower bringing new hope to a shattered nation. There are a few moments of hope when the cowardly Don is reunited with his children, who've been spared the horrors of the preceding six months by being sent to a refugee camp in Spain. Their father is now working for the Americans as manager of a dockland tower block. Then we're back to suspense, action, and horror.
First, Don's teenage daughter and her young brother escape from the green zone to revisit their old home in a deserted London. There, they find their mother, who turns out to be a virus carrier. Then there's a panic when the green zone and the surrounding area become a battleground. After a switch to condition red, the order is given to abandon selective targeting. In a scene of slaughter followed by aerial attacks sending fireballs through the canyons of docklands, the populace realizes that if the zombies don't get you, the snipers will. In an attempt to save the children, both for themselves and because their blood may possibly provide the source of a vaccine, a concerned military doctor (Rose Byrne) leads them across London on foot and by car. My heart was pounding every foot of the way.
One of the film's great strengths is the way it uses familiar London sights and sites, old and new, ranging from St Paul's, a blackened Nelson's Column, and Tower Bridge to the Gherkin, the Millennium Bridge, and the new Wembley Stadium. The familiarity enhances the horror as well as being a change from seeing the destruction of New York and Los Angeles in American apocalyptic blockbusters. Everything moves at such a breathless and lapel-grabbing pace that one doesn't think of certain implausibilities or wonder why there are no British troops or political leaders around. Although the general tone might be considered anti-American, the principal sympathetic figures, apart from the fugitive children, are all in the American army - the woman doctor, a black helicopter pilot, and a disgusted sniper who turns to help his designated victims. But the movie is ruthless and not only in the way it spares no one from plague and bullet. The chilling theme is that the road to hell on earth is paved with good intentions, starting with the well-meaning scientists and the animal activists who light the fuse, and continuing with those inspired by compassion and moral decency.
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