Some have called this a reinvention of zombie horror and described it as scary as hell. Normally, disagreeing with this would imply that the film wasn’t very good. But in fact, the film is actually a highly effective, emotionally significant drama and far more moving than it is terrifying.
When Jim (Cillian Murphy) wakes up from a coma in a London hospital, he is shocked to find out the city has been abandoned. Why, you ask? Well, it appears an infection that turns people into blood-vomiting zombies has caused a bit of a stir. With the help of a few remaining naturals -- a Foxy Cleopatra named Selena (Naomie Harris), a lovable cherub named Frank (Brendan Gleeson) and his teenage daughter Hannah (Megan Burns) – he is able to make his way to a small military stronghold in Manchester. However, these soldiers, under the leadership of Major Henry West (Christopher Eccleston), may have less than kosher motives. Is there a cure? Is there a future? What’s happening to my skin? I can’t see!! Aaaaaagghhhh!! Must eat human flesh!!! Argggghhhh…….
While we may have seen the story done (badly) many times before in one form or another, just as we have seen the vampire and werewolf stories over and again, 28 Days Later focuses more on human relationships than human/zombie relationships. And the impressive part is it is more concerned with what is good about human relationships than what is depraved. Jim is saved more by Selena’s faith in him than by her machete (although this too plays an important part). Selena is kept alive more by Jim’s kindness than by his bravery. And it is Frank’s paternal nature that gives the team more strength than just brute force.
The horror gore is maturely restrained and practically absent but for a few jumpy moments until near the end. This not only contributes to the tension and suspense, but again adds credibility to the human predicament. Director Danny Boyle’s visual style is as much a character in this film as any of the protagonists. It is purposefully shot in a grainy, down-to-earth video style, yet is juxtaposed with deeply emotional cinematic music. The humans look plain and the zombies manage to look other-worldly in their movement more so than in their make-up.
The acting is more subtle than the cinematography, with Cillian Murphy creating a believable and identifiable Jim. Naomie Harris offers a bold and strong character that still maintains femininity. Brendan Gleeson, an excellent actor (Gangs of New York), could not possibly give a more convincing performance as a father. Newcomer Megan Burns does not deliver as well, appearing as if on Valium for the whole film (which is funny because later on her character actually is on Valium). It seems as if Boyle has purposefully tried to keep her out of frame in some of the more intense scenes because she cannot match the emotional realism of the other actors. Still, the cast makes a functional ensemble worth rooting for.
The film is evenly paced, growing gradually more exciting without appearing to be in a rush. Some questions may be left unanswered by the end and some answers may be a little brief for some (the defining theory of the film comes down to one line spoken in a thick accent), but the whole experience is immensely satisfying. Writer Alex Garland takes us on a credible apocalyptic journey that isn’t simply defeatist philosophy.
I’m a big horror fan, but have only found zombie movies to be functional within the comedic sub-genre (as in the film Re-Animator or any Republican convention). 28 Days Later is a refreshingly touching film that is shocking without mocking.
Theaters are now showing an alternate ending after the credits. It sucks. A
