#28 weeks later poster windows#

Suffice it to say that the quarantine doesn’t hold, and the infection returns. Meanwhile, Major Levy (Rose Byrne), a medical officer, realizes that the highly contagious Alice carries the rage virus, and at the same instant, Don visits his wife to apologize with a saliva-heavy kiss. There’s an uh-oh moment when the children learn that, despite what their father told them, their mother is alive. It’s a notion that expands the mythology of the first film, as every sequel should, while also incorporating a dramatic convenience, the first of many in the film. Where Fresnadillo and his writers become perhaps too creative for their own good is suggesting that Alice survived the attack on the farmhouse.Ģ8 Weeks Later introduces the idea that someone, namely Alice, could be a carrier of the virus without succumbing to its rage-fuelled symptoms. They ask about their mother, and Don changes the events around just enough to remove any question of his guilt. Rowling fan should enjoy) become the first children allowed back into the country. Don’s teenage daughter Tammy (Imogen Poots) and his twelve-year-old son Andy (Mackintosh Muggleton, a name every J.K. Thousands now live in the remnants of the small neighborhood, among them Don, who has survived. London’s Isle of Dogs becomes a safe zone, restoring the illusion of infrastructure-complete with running water, electricity, CCTV surveillance, clean living spaces, and even a pub-while armed soldiers and NATO medical staff heavily monitor the incoming and outgoing traffic. Six months after the zombie-like Infected have starved to death and the area has returned to normal, albeit leaving Britain an abandoned wasteland, US troops oversee the resettlement of the otherwise quarantined country. Fresnadillo, working with three other credited screenwriters, turns this co-production between production companies in the UK and Spain into a worthy sequel by reinforcing many of the themes established in the original, while finally expanding the trajectory of the fast-spreading rage virus into a pandemic. Boyle, unable to direct due to other obligations, turns the reins over to Juan Carlos Fresnadillo, whose earlier thriller Intacto earned him mild praise in 2002. Although the gasp-inducing preface resembles Night of the Living Dead in its location, much of the sequel draws from Romero’s later works, specifically Day of the Dead (1985) and Land of the Dead (2005) with their respective themes of an ineffectual military and a reconstructed city doomed to collapse once more. Whereas the film’s predecessor, 28 Days Later (2002), is about feeling abandoned in a world devoid of social order or government, 28 Weeks Later is about the opposite feeling of oppressive claustrophobia in open spaces.įollowing Danny Boyle’s superb zombie innovation, 28 Weeks Later once more turns the zombie film into a visceral, accelerated experience with a cynical message about the institutions established to protect us. With seemingly endless space in which to move, he is nonetheless confined between the swarming Infected and his slim chance at escape onto a motorboat. Don escapes out of a window onto the lawn it is a vast field of grass, but he has nowhere to hide. The seething Infected, who are not reanimated corpses but contaminated humans driven by pure hatred in disease form, give chase. Knowing she is doomed and too cowardly to attempt a rescue, Don abandons Alice. Don and Alice try to escape, but several Infected come between the husband and wife. But inevitably, the frenzied Infected, poisoned by rage, smash into the survivors’ temporary haven.

#28 weeks later poster windows#

Married couple Don and Alice (Robert Carlyle, Catherine McCormack), who are grateful their children were abroad during the outbreak, have boarded the windows and now, along with several others, keep quiet to not draw the attention of the accelerated zombies outside. Survivors of a viral epidemic have holed up in a small farmhouse on the British countryside. Romero’s Night of the Living Dead (1968). 28 Weeks Later opens with a sequence that cannot help but evoke George A.