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There is very limited about this movie that can be considered “dread” per se. At best, in this sense, the film is a suspense flick, with a somewhat spooky score/soundtrack (that added plenty to the tension in its atmosphere), and a gargantuan cast who portrayed the best and worst traits in human nature.
I can understand those who give the movie a unpleasant review since they were expecting something extremely scary (that’s the scheme in which it is being marketed) and ended up watching an incandescent, well presented survey in first-rate and contaminated, fair vs. deplorable, loyalty vs. survival, and many other concepts that one wouldn’t query from a “fear” flick. This movie, in that sense, simply was not what the average goer was promised.
Now, as far as ample films are concerned, this is definitely a proper exertion. It has more depth than one could ever expect; the cinematography is done extremely well; and the acting is honorable (even on the share of the nearly soundless and secondary infected characters) . The symbolism is one that the average movie watcher might not secure, especially if they’re looking for two hours of gore or scary moments (there are very few of those, as the director clearly preferred to refrain from using extremely graphic imagery) .
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Indeed, what makes this film a critical one is the social criticism and the analysis of human nature that it presents. What is more primary, survival or friendship/family? Are the ethics of scientific research being checked to prevent the creation of immoral agents (even if not as tragic and coarse as what we watch in this film)? Is it worth fighting for one’s life when hope is sad or even non-existant? Many more questions arise and give rude value to this film. This is definitely an advantageous example of existentialist movie making. Whether it is a anxiety film or not becomes irrelevant once you recognize its good meaning.
So, if you are the kind of person who enjoys trashy and bloody films like the Jason or Freddy “epics,” or if you cannot handle too powerful thinking while at the theatre, then this is not a movie for you. If you’ve enjoyed “intellectual” flicks like “Lost Highway,” “Frailty,” or “The Ring,” then this is definitely for you. You will feel valid about seeing this one, even though it portrays so many poor and hideous things about us as “humans.”
28 Days Later is stylish, lonely, bloody, desperate, wet, violent, frantic, thoughtful, scary and, ultimately, hopeful. Danny Boyle artfully directs Alex Garland’s script while paying homage to movies like the Omega Man and George Romero’s Tedious trilogy. As hard as it is for me to say, 28 Days is a mighty better film than any of the films mentioned above.
The movie focuses on the people who have not been infected with a virus that turns humans into rage filled zombies. In fact, the zombies only build a few camouflage appearances, the dread factor of the movie coming mainly from the reactions of the uninfected people to their state. The main characters are well acted and I cared about what happened to them. Visually the movie is a masterpiece and the scenes in an empty London are wonderful.
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I recommend 28 Days Later to fans of the other movies mentioned above or anybody looking for a thoughtful, scary zombie film. People looking to pull their brain out for a few hours or for non-stop gore and zombies will most likely be disappointed.
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