Directed by:
Juan Carlos FresnadilloCinematography:
Enrique ChediakComposer:
John MurphyCast:
Robert Carlyle, Rose Byrne, Imogen Poots, Catherine McCormack, Jeremy Renner, Harold Perrineau, Idris Elba, Emily Beecham, William Meredith, Chris Ryman (more)VOD (3)
Plots(1)
"28 Weeks Later" picks up six months after the rage virus has annihilated the mainland Britain. The US army declares that the war against the infection has been won, and that the reconstruction of the country can begin. As the first wave of refugees return, a family is reunited - but one of them unwittingly carries a terrible secret. The virus is not yet dead, and this time, it is more dangerous than ever. (official distributor synopsis)
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Reviews (8)
A relentless action flick with a simple plot scheme based on a teenage killing video game. It entertains but doesn't fulfil the horror essence of the zombie genre despite having the ultimate bloodthirsty creatures. A more or less haphazard sequence of spectacular scenes with no tangible atmosphere; this is exactly the reason Romero has remained the rightful master of this genre after the turn of the millennium... 60%
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The first half hour is just great. The beginning with the re-settlement of Britain, or more precisely, London, sets an amazing atmosphere and offers expectations for what will follow. Then the movie arrives at the part where the infection starts raging again (I hope that’s no spoiler ;-) and the massacre begins. The scene where the snipers can't tell the infected from the uninfected is particularly impressive, as is the bombing of the "first sector", mowing the grass by helicopter, and Wembley stadium (no more soccer games for the boys, tee-hee). In fact, even running blindly through the tunnel is brilliantly done. Unfortunately, this is really more or less a typical escape movie, which somewhat spoils the impression created by the great beginning. Even so, I’m sure you won't get bored. The acting performances are also very good (especially the Rose Byrne and Jeremy Renner duo). And the end? It might be a bit of a cliché, but I have a soft spot for this type of ending :-). Well, I'm going to look for zombies from the balcony. After all, it’s not that far away. See you 28 Months Later.
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28 Weeks Later is aggressive, harsh and self-consuming in its inhumanity. It’s far more of an action movie than a horror one. Fresnadillo uses so much shooting, smoke, flames and explosions that the resulting film looks more like a video game adaptation focusing on the visual-atmospheric aspect (Silent Hill and Resident Evil put together) than Danny Boyle’s existential 28 Days Later. The quality cast is also wasted in the director’s hands – the characters do not have the necessary depth and serve only as guides through dramatic encounters with zombies or soldiers destroying everything alive.
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For anyone who has ever wondered what a "pandemic after-party" would be like, Juan Carlos Fresnadillo provides us with a very (un)satisfying answer. This Spanish talent may not be able to perform miracles, but he is great at pumping up the film with dynamics, throwing out anything that even smacks of compromise, and spicing everything up with a good portion of a hopeless atmosphere. Accompanied by Murphy’s perfect music and with an ensemble of excellent actors (Jeremy Renner was born to wear the uniform on screen), it offers a high portion of adrenaline fun, culminating in several highlights. There are many criticisms that can be made about it, but the film is like a skilled chameleon, which you will admire all the more if you don't go see them in their pavilion three times a week.
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Although 28 Weeks Later is several years younger than the first film, it doesn't even come close to it in terms of technical aspects. Where Boyle was not afraid to show aggressiveness and rawness, combined with precise handheld camera work, Fresnadillo is searching for which direction to actually take. Ninety percent of the action sequences are confusing, and instead of a naturalistic survival ride, we have ketchup-like exhibitions such as a helicopter in a field or shooting at civilians. The screenplay itself is shockingly full of holes, with several twists bordering on the stupid, and the fact that the characters are relatively unpredictable – meaning you have no idea who will pull the trigger – is nice, but in the flood of directorial incompetence, technical impotence, and script incompleteness, it is really not a solution.
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