28 Days Later Movie Review (Spoiler Free)

If you’d woken up locked in a hospital room, with no one around, the city streets deserted & week-old newspapers talking about the end of the world. What would you do?

Genre: Drama / Horror 

Director: Danny Boyle

Cast: Cillian Murphy, Naomie Harris, Megan Burns, Brendan Gleeson, Christopher Eccleston, Noah Huntley, Stuart McQuarrie, Ricci Harnett, Marvin Campbell & David Schneider.

Run Time: 113 min.

US Release: 27 June 2003

UK Release: 01 November 2002

German Release: 05 June 2003

It’s Throwback Thursday! With the imminent release of the second sequel to this zombie-like British pandemic flick, I thought it was time to review the 2002 original. Written by none other than the magnificent Alex Garland, this contained, apocalyptic horror drama is one of the genre's best. Grimey, bleak, with an engaging dramatic core, including a shocking third act twist, this is a must-see that should be experienced at least once! So, let's get right to the chase, as we search for the answer to infection, in my review of …28 Days Later! 

Four weeks after an incurable virus spreads through the United Kingdom, bike courier Jim emerges from a coma, finding himself in a deserted London. As he goes on a search for answers, he comes into contact with those turned into ravenous beasts. Soon, a battle for survival ensues, as Jim is being chased by the very plague that eradicated the city.

While not a “zombie” film in the traditional sense, writer Alex Garland, who had worked with director Danny Boyle before, during the adaptation of his novel “The Beach”, said that his prime inspiration was the 1951 tale “Day of the Triffids” by John Wyndham, in combination with the love for the subgenre he has, ignited by George A. Romero’s first two movies, in the Dead trilogy. Production was plagued by budget constraints, as well as the search for a studio. 

First and foremost, this is a post-apocalyptic shocker set in a world after an epidemic; the inclusion of the highly contagious rage virus reimagines zombie lore, transforming infected individuals into aggressive husks, rather than reanimated ghouls. It reenergised this whole horror subgenre that had grown lifeless by tackling it from a different perspective, introducing faster, more savage infected. 

The dramatic hospital opening is one of the most iconic sequences, establishing a dystopian atmosphere, using disorientation plus silence. Unusual is the reliance on a character-driven plot, rather than typical terror motifs, creating psychological ferociousness. Avoiding any unnecessary exposition, the pacing is kept at an all-time high, using a stripped-down story.

Starting as pure survival horror, the narrative gradually shifts tone to a broader discourse about humanity and civilisation itself. Topics about mankind, its nature (be it benevolent or sadistic), just like authoritarianism through militaristic control, are being brought up. Granted, the last arc is the one that feels most underdeveloped, yet it is still compelling nonetheless. 

The dialogues are part of this feature's highlight, sounding natural, especially during early scenes of confusion. Exchanges are crisp, mostly using body language, but when conversations take place, they revolve around philosophical aspects.

Relationships between characters evolve organically through the course of the runtime, making them believable and emotionally appealing. The study of the “found family” is central to the plot’s core, as it is illustrated as a source of strength amidst the growing chaos. 

Cillian Murphy delivers an incredible breakout performance as Jim, who is the surrogate persona for audiences. He manages to balance out the protagonist's vulnerability with a strong care for others. Jim himself makes a beautiful evolution during the nearly two-hour runtime: from baffled survivor to hardened protector, also reflected in his physical transformation. Murphy’s softness, shimmering through his gentle eyes, makes for great compatibility with his co-actors. 

Selena, played by Namie Harris, is a well-written, strong female role. She brings knowledge, street smarts, just like a powerful commanding presence to the table, having witnessed more than the others. Harris is magnetic in her rendition, having impeccable chemistry with Murphy and Megan Burns.

Brendan Gleeson, who embodies Frank, radiates gentle warmth, dosed in a tragic past. Frank is a single father to his daughter Hannah, with his paternal charisma serving as a gravitational point to viewers, as well as other characters, in specific Jim. Megan Burns as Hannah gives a powerful delivery, though a little wooden.

Then there is the military, with Christopher Eccleston being the face of it, as a Major of one of the last surviving platoons. I don’t want to give too much away, but the reveal is chilling.  

The camera work is a piece of art. Director of Photography Anthony Dod Mantle shot the movie on a Canon XL1 digital video camera, giving the picture a grainy, gritty touch that made it look part indie, part documentary-like, enhancing the realism, plus feelings of threat. Handheld segments create immediate urgency in scenes of confrontation or chase. The colour grading uses washed-out colours with grey hues, echoing a surreal, desperate haunting of loneliness. Eerie silences in combination with extreme close-ups make for a deeply personal sensation.

That said, while the decision to shoot the film on digital video does for a great artistic statement, it also sacrifices optical clarity, making some sequences difficult to follow. 

VFXs are utilised sparingly or not at all. Instead, practical make-up, lighting, as well as distorted editing are used to fabricate an atmosphere of frenzied chaos and frightening dread. For the look plus movement of the infected, Danny Boyle took inspiration from several real-life diseases, specifically Ebola in combination with rabies. Fast cuts, aggressive frame shifts, paired with strobe lighting, extend the virus into a visual stimulus. 

John Murphy’s composed “In the House - in a Heartbeat” is one of my favourite tracks composed for a shocker. It starts minimalistic, with bitter-sweet sounds reflecting mourn, loss, plus loneliness, spiking in a blasting crescendo of violence, mirroring the narrative's trajectory. The repeating melody is a metaphor for the ever cycle of human aggression.

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Verdict: This is one of my favourite horror flicks, hands down! The directorial brilliance, paired with the uniqueness of Garland’s writing, in combination with Murphy’s haunting tunes and the street-level cinematography, is chillingly shocking. The script combines newly developed “zombie” lore, apocalyptic atmosphere, tragedy and psychological stress. The opening scene is iconic, as it throws viewers into the disoriented mindset of the protagonist, who woke up from a coma, without any knowledge of what is happening. Character interaction is key, as the story is driven by its relationships and growing arcs. Cillian Murphy delivers a powerhouse of a performance in his breakout role, supported by equally impressive renditions from his colleagues. The aggressively jarring editing produces a visually disturbing interpretation of the rage virus. With minor flaws, 28 Days Later absolutely deserves a  9.0 out of 10!

Which of the two 28 Days Later pics is your favourite? Did you see this one yet? If not, I do highly recommend it! Let me know in the comments below. Thank you very much for reading. If you like the content, don’t forget to subscribe, share & like!