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Posts Tagged ‘Juan Carlos Fresnadillo’

Haven’t watched any Olympics so far, don’t feel this has blighted my life, didn’t watch the opening ceremony either – if you really must know, I came across a copy of Gamera the Invincible on the internet and found the prospect of watching that far more appealing. Nevertheless, from all I hear I Love Wonder was a great success. Spiffing; hopefully now Danny Boyle can get back to making horror movies as only he can.

I am of course particularly anticipating Boyle getting to work on 28 Months Later, and I suppose this is a little surprising as I seem to recall being a bit lukewarm about 28 Days Later when it first appeared in 2002. I didn’t think it was a bad film, I just wasn’t as impressed as many other people clearly were. Nevertheless, despite my usual policy of not buying films on DVD unless I’ve already seen them and know they’ll reward many viewings, I bought the box set of it and its sequel, which I missed at the cinema, the first chance I got.

For 28 Weeks Later Boyle stepped back from the director’s position and let Juan Carlos Fresnadillo have a go, although I’ve been told he handled the opening sequence personally. This is not surprising as it’s one of the most visceral and disturbing parts of the film. Here we meet Don (Robert Carlyle), an average family man who’s taken refuge from the outbreak of the Rage virus in a country farmhouse. (This section is set during the same timeframe as the first movie.) However, he and the people he is with are discovered by a pack of infected and he is forced to flee, the only survivor – his desperation to escape making him commit a genuinely shocking act.

Months later, as suggested by the end of the first film, the infected have died of starvation leaving mainland Britain ruined and empty. Refugees who escaped the quarantine are being repatriated by a US Army task force, based at an enclave in central London. Two of the latest arrivals are Don’s kids Andy and Tamsin (Mackintosh Muggleton and Imogen Poots – yeah, like those are their real names!) – despite the fact that the presence of children does not sit well with chief medical officer Scarlett (the lovely Rose Byrne).

Scarlett’s concerns prove well-founded when the kids slip out of the compound and discover someone who has survived the outbreak of the Rage. The problem is that they have done so due to a genetic anomaly, which makes them an asymptomatic carrier of the virus: they carry inside them the seeds of a second outbreak, and one which could potentially be even more dangerous than the original…

Yeah, I know what you’re thinking if you’ve seen this film: the recap above presents the facts of the story rather idiosyncratically, but this is only because I want to preserve some of the shocks and surprises built into the plot. To be perfectly honest, I’m not sure the focus on Don and his family completely works as the film progresses – given what we saw of the virus and the infected in the first film, the way that some characters behave in the later stages of this one is a little bit startling. (The issue of why the infected don’t simply turn on each other becomes an even more clouded one.)

I suppose one could be accused of taking a very gory zombie movie a bit too seriously by even worrying about this sort of thing, but both these movies are smarter than you’d expect and thus deserve serious consideration. It seems to me that both these films are, on some level, about fear of the mob and the innate human capacity for savagery, but 28 Weeks Later adds a new layer to this by being much more openly political. The repatriatees live in a ‘Green Zone’, while the US Army have, possibly prematurely, declared a formerly hazardous area safe.

It’s very clear that the US Army’s occupation of London is intended, on some level, as a satire on the occupation of Iraq, which adds a new subtext to latter scenes, in which their general (Idris Elba) orders his troops to fire upon civilians to stop the Rage spreading. It’s an interesting idea, and allows for some stunning images – the Isle of Dogs being firebombed, helicopter gunships attacking civilian vehicles in central London – as well as (of course) allowing some American stars to appear in the cast (Jeremy Renner and Harold Perrineau are the most prominent). But I still don’t think this subtext of the film completely makes sense, not least because – on one level – the general is clearly justified in taking whatever measures are necessary to stop the virus spreading.

Nevertheless, this angle, and the fact that as a result this is much more of an action-chase movie than the first one, definitely give it its own identity. I think part of the reason for my subdued response to the Danny Boyle film was that it did seem to me to be an obvious mash-up of two sources I already knew very well (Night of the Living Dead and The Day of the Triffids). I’m not saying 28 Weeks Later is a better film, but I think I’ve watched it more often, quite simply because it is more original.

That said, I did respond rather negatively to it the first time I saw it. Quite apart from the ungallant treatment meted out to the lovely Rose Byrne, I was repelled by the overwhelming, nightmarish¬†bleakness of the film’s atmosphere and story, and especially its ending (as is common, the original doesn’t really leave obvious material for a sequel – this one goes out of its way to allow the story to continue, but of course the rights then got tied up, leaving the third installment in limbo). But now it seems to me that this is the horror of the film, as much as in the splatter and gore – unsympathetic though he is, the general’s ruthless approach to the crisis is ultimately proven to be the right one. It’s the human sympathy and affection shown by many of the main characters which is misplaced and ultimately results in catastrophe (I suppose you could also argue it’s all Don’s fault, but spoilers await). Compassion and empathy, in this film, are what wind up getting you killed, and that’s not a comforting message.

As I said, the ending is left wide open for further episodes (although I’m not sure what they can do with the titles after 28 Months Later – entering the realm of years and decades stretches credibility somewhat), the main challenge being simply to match the level of ingenuity and originality set by this first follow-up. I hope they manage it; this is a superior sequel and a memorable horror movie in its own right.

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