Archive for the '28 Weeks Later' Category

Apr 22 2010

28 Weeks Later Streaming

Published by miguelbuchanan1960 under 28 Weeks Later

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Movie Title: 28 Weeks Later
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28 Weeks Later… (Juan Carlos Fresnadillo, 2007)

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So Alex Garland didn’t write the 28 Days Later… sequel, nor did Danny Boyle deliver it. I felt a bit better about this after hearing that the reason for both was time issues/contractual obligations (both were keen in the much-anticipated Sunshine when this got off the ground) . So they brought in Juan Carlos Fresnadillo (Intacto) to both co-write and jabber. I was detached a touch leery walking into the theater, but the ruin result is that the movie was not as ample as I’d hoped- but a ample deal better than I expected.

We commence off with a group of survivors holed up in a cottage at the beginning of the outbreak (if you saw the recent, the opening scene happens, presumably, while Cillian Murphy’s character is level-headed in a coma) . Two of the people stuck there are Alice (Catherine McCormack) and Don (Robert Carlyle) . During dinner one night, there’s a pounding on the door, and they admit a young boy (Gary Robert Kelly’s common actor, Beans El-Balawi) . Unfortunately, the infected are hot on his tail, and you can guess the rest. Don escapes. 28 weeks later, the repatriation of Britain begins, and Don’s kids Andy (the similarly wonderfully-named Mackintosh Muggleton in his first conceal role) and Tammy (V for Vendetta’s Imogen Poots) are reunited with him. But, as you know if you’ve seen thirty seconds of any trailer to the film, maybe they were a bit snappily in bringing people support to the island…

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The superb news is that Boyle did, in fact, act as second unit director, and directed a few scenes. The unpleasant news, which isn’t really so dreadful, is that it’s ravishing definite which scenes they are. While the behind-the-scenes stuff they’ve been showing on TV singles out Boyle’s direction of the opening scene, there are a few others scattered throughout as well. Boyle’s adrenaline-rush jump cuts reveal up now and again, and there’s an almost eerie similarity to the first film in those scenes. This is helped along by the fact that the producers primitive, for all intents and purposes, the same soundtrack John Murphy came up with for the first film, but without the comical overjoyed synthesizer stuff that popped up now and again in that one. (And no uncredited Godspeed You Dim Emperor! tracks this time round, either.) That said, Fresnadillo is a strong director in his fill true, and he holds his acquire here. The sage is less anecdote than the first one, with the focus squarely on Don and his kids, along with two army officers who try to support them hurry the unusual outbreak of contagion. This could have easily become a weakness, with such a simple storyline, but Fresnadillo turns it into a strength. There are a lot of places where he could have branched out, and frankly I’d have liked to ogle some of them, but he kept focus throughout. He also didn’t create the usual sequel mistake of showing the monsters too considerable, sticking to Boyle’s new jump-cut concept when the infected gather cloak time (which is surprisingly small, actually) ; you accept flashes, but with one frightening exception towards the slay of the movie, we never win the whole “let’s unveil the monster in all its glory” wankery so celebrated in panic films with gigantic effects budgets. (And even in the exception, he keeps it to a minimum and calm uses the close-ups that develop the infected so scary in the first region.) There were a few times I wished Garland had written the script, but Fresnadillo and his compatriots (who include the BAFTA-nominated Rowan Joffe) did well, for the most allotment.

The one truly ancient point in the movie is that it’s all position up very conveniently. You have a basic understanding of what’s coming from the first spacious position twist (or, if you’re more observant than I am, about ten minutes into the movie) . That said, Fresnadillo composed has a trick or two up his sleeve for the immense payoff at the slay of the movie, and oh, the payoff is so very, very worth it. Everything’s site up nicely, and then Fresnadillo and co. sweep everything we deem we know off the table.

Now, I know there are a few people who aren’t going to like the sequel no matter what because it’s a sequel, but in general, if you liked the first one, I reflect you’ll catch a kick out of this one, as well. Certainly worth paying matinée notice for, even if your matinée pricing objective skyrocketed like ours did. ****

When I heard that this was coming out, I was not expecting great. The fresh is arguably THE zombie classic (discounting the hysterical “Shaun of the Tiresome”) of the last decade, but the sequel enthusiastic almost none of the current minds that brought us the stark alarm of “28 Days Later”, which combined the threats of cataclysmic disease and it’s deadly effects on the mind which caused those infected by what became known as the “Rage Virus” to viciously and relentlessly attack the uninfected, either killing the victim or spreading the disease. A sequel had potential of course, but it seemed like it would be a by-the-books popcorn affair. Boy, was I atrocious.

People complained that the first film started too slowly and was monotonous for the first twenty minutes; I disagree, but that stutter has been addressed nonetheless. The opening sequence flashes abet to another group of survivors during the unique outbreak. Their fate is one you won’t forget; it is startling, chaotic, repulsive, dramatic, hopeless, and heartbreaking, all within one fairly short chain of events. That’s when I knew this one was going to be everything I wished it would be and it never let me down. This film is yarn and personal, ugly yet tearful, and manages to give you everything you want, even when you had no clue that you wanted it.

The evolution of the Rage Virus is a bewitching one in that it manages to outlive the death of all of the infected (from starvation) by exploiting a rare gene that allows some people to be carriers of the virus without succumbing to it’s effects. The result: even kissing your wife hello could be the catalyst for a current, deadly outbreak. The tale kicks in 28 weeks after the infection dies and the US military is overseeing the repopulation of London; or a district of London to be steady. Every possible step is taken to ensure that the awe that was the infection that wiped Mountainous Britain’s population tidy off the earth is not repeated. Naturally, the virus finds a plan. As the crushing mass of humanity flees from the compromised quarantine and the murderous zombies, there is an fabulous scene where the rooftop snipers are frantically trying to distinguish the civilians from the infected as they accelerate down a bottlenecked street. The chaos and hopelessness of the residence are palpable as the camera shows us through a soldier’s scope unbiased what he is up against in dramatic fashion. The diagram that these situations of large-scale human fear are turned into personal struggles is what makes this movie a stone frosty classic in my mind where it otherwise would have been honest another large scare film.

The cinematography impresses as well. There are plenty more of those iconic shots of deserted London that bring relieve memories of the first film and construct me wish I lived there so I could devour them more. Another nice touch. And the final shot of the film, while not unexpected, is one that will chill you to the bone and thrill you at the same time.

I’ve spent primary time trying to assume of a dread sequel that surpassed the modern so superbly and I honestly can’t contemplate of one. The closest would be the novel “Dawn of the Lifeless”, but I tranquil seize “Night of the Living Lifeless” to “Dawn” so “28 Weeks Later” takes it. This is an absolute take-no-prisoners, hard “R”, work of awe that must be viewed by all professing to be panic fans.

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