3/22/2023 0 Comments Catherine mccormack 28 weeks laterLaurence Olivier Award for Best Actress in a Supporting Roleīraveheart, Dangerous Beauty, 28 Weeks Later, Spy Game, The Tailor of Panama, The Weight of Water, Shadow of the Vampire, A Sound of Thunder, The Land Girls, Dancing at Lughnasa, The Moon and the Stars, Born Romantic, This Year's Love, A Rumor of Angels, North Star, Loaded, Renaissance, Stevie, The. Oxford School of Drama, Massachusetts Institute of TechnologyĬatherine McCormack, McCormack, Catherine The chilling theme is that the road to hell on earth is paved with good intentions, starting with the well-meaning scientists and the animal activists who light the fuse, and continuing with those inspired by compassion and moral decency.December 28, 1967, Boston, Massachusetts, United Statesįilm producer, Writer, Actor, Television Director But the movie is ruthless and not only in the way it spares no one from plague and bullet. Although the general tone might be considered anti-American, the principal sympathetic figures, apart from the fugitive children, are all in the American army - the woman doctor, a black helicopter pilot and a disgusted sniper who turns to helping his designated victims. Everything moves at such a breathless and lapel-grabbing pace that one doesn't think of certain implausibilities or wonder why there are no British troops or political leaders around. The familiarity enhances the horror as well as being a change from seeing the destruction of New York and Los Angeles in American apocalyptic blockbusters. One of the film's great strengths is the way it uses familiar London sights and sites, old and new, ranging from St Paul's, a blackened Nelson's Column and Tower Bridge to the Gherkin, the Millennium Bridge and the new Wembley Stadium. My heart was pounding every foot of the way. In an attempt to save the children, both for themselves and because their blood may possibly provide the source of a vaccine, a concerned military doctor (Rose Byrne) leads them across London on foot and by car. In a scene of slaughter followed by aerial attacks sending fireballs through the canyons of docklands, the populace realises that if the zombies don't get you, the snipers will. After a switch to condition red, the order is given to abandon selective targeting. Then there's a panic when the green zone and the surrounding area become a battleground. There, they find their mother, who turns out to be a virus-carrier. Then we're back to suspense, action and horror.įirst, Don's teenage daughter and her young brother escape from the green zone to revisit their old home in a deserted London. ![]() Their father is now working for the Americans as manager of a dockland tower block. There are a few moments of hope when the cowardly Don is reunited with his children, who've been spared the horrors of the preceding six months by being sent to a refugee camp in Spain. After all, we've come to see a horror flick, not a film in praise of the last superpower bringing new hope to a shattered nation. ![]() When we hear the words 'rehabilitation' and 'green zone', we immediately think of Iraq and rightly assume it to be ironic. The American army has arrived, turned Canary Wharf and the Isle of Dogs into a green zone, and is beginning the process of rehabilitation. Twenty-eight weeks later, the virus has run its course and everything is under control. ![]() To add to the terror, he's deserting his wife.Īfter this shattering opening, we relax as a factual montage carries us through the various stages of the national catastrophe. A bravura five-minute sequence follows that includes rapidly edited close-ups of shock and gore and a tracking shot from a helicopter of Don (Robert Carlyle) running for his life. Suddenly, a ferocious horde of crazed creatures attacks they are as terrifying but much more agile than their counterparts in George Romero's Night of the Living Dead. Only when a door is opened do we realise there's bright sunshine in the green and pleasant countryside outside. This sequel begins in media res, assuming we know the earlier film, and there's a palpable sense of doom as three generations of Britons live on hoarded food in a boarded-up, candlelit house. In a matter of days, flesh-eating zombies have taken over the country, leaving a few survivors in London and a handful of soldiers outside Manchester. In that film, a holocaust is triggered by animal-rights activists releasing apes from a Cambridge laboratory where scientists are experimenting with a deadly virus. I think his new film superior to 28 Days Later, whose director Danny Boyle here functions as co-producer. 28 Weeks Later is the second full-length movie by Spanish director Juan Fresnadillo, whose accomplished feature debut, the brilliant allegorical thriller Intacto, I thought underrated.
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