![]() ![]() Poots, in particular, is fantastic the future Green Room star showed her early horror expertise as a fiercely independent teenager forced to take on the burdens of a parental role as she protects her younger sibling. ![]() ![]() They’re the ones forced to deal with their father’s mistakes when Don inadvertently spreads the virus while in quarantine. Children in zombie films all too often feel like a burden only involved to evoke sympathy, but the characters in 28 Weeks Later feel much more active. The character is forced to wonder: Is the lie is for his children’s benefit or is he just comforting himself?ĭon’s growth as a father, similar but distinct from Murphy’s patriarchal role, is made all the more crushing when his children are forced to make a similar decision in the film’s climax. Carlyle does an excellent job of showing how Don’s priorities shift. 28 Days Later created a family unit through the union of Jim ( Cillian Murphy), Selena ( Naomie Harris), and young Hannah ( Megan Burns), but 28 Weeks Later rips one apart through the introduction of Don’s teenage daughter, Tammy ( Imogen Poots), and younger son, Andy ( Mackintosh Muggleton). RELATED: The 40 Best Horror Movies of the 2000sĬarlyle exhausts himself emotionally early on, but perhaps even more crushing than the visceral sight of his escape is the moment Don breaks the news to his children of their mother’s death, lying about his role in her demise. At first glance, the prospects for the sequel weren’t promising. Filmmaker Juan Carlos Fresnadillo stepped in as director, but his script-co-written with Rowan Joffé, Enrique López-Lavigne, and Jesus Olmo-would follow an entirely different cast of characters. Boyle was out, choosing instead to work on the sci-fi epic Sunshine, another collaboration with screenwriter Alex Garland. Understandably, expectations were high for the follow-up, 28 Weeks Later. Romero's Night of the Living Dead, but Boyle's innovative take on a 21st-Century post-apocalypse emerged as a worthy contender. All zombie movies have to live in the long shadow of George A. Boyle’s fly-on-the-wall perspective, released during the dawn of digital innovation, became an instant classic because of its humanist drama and biting political allusions. 28 Days Later, director Danny Boyle’s terrifying vision of London in the aftermath of a zombie apocalypse, immediately sparked renewed interest in the genre when it debuted in 2002. ![]()
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