After a group of eco-terrorists break into a Cambridgelab and free the apes infected with man-made Rage virus society collapses under the unforeseen pressures of a zombie pandemic. Jim ( Cillian Murphy) wakes up from his lucky coma to find he had missed one hell of an event – the end of the world, or Britain, to be exact. In 28 Days Later the tandem works magic and the result is an instant horror classic. Because this movie goes unpleasant places and reminds us of the ultimate isolation, the beast inside and other horrors writer Alex Garland and director Danny Boyle touched upon in The Beach (2000) but failed to deliver convincingly. You will have the main theme ( In the House a Heartbeat) and the rest of the paranoid John Murphysoundtrack pump in your temples for days later. You will check your door locks, you will draw the curtains. Dopy tranquillity, nightmarish speed (a blur of eyes, feet and frothy mouths), total defamiliraziation and oh-so-familiar dread are mixed into a whirlwind of shuddery cinematic pleasures. Its pace and mood are breathtakingly meandering: in the midst of rushing, rasping and running for your life (with blood pumping in your veins) the movie has time to stop and reflect on the beauty of naked and mute London and the ugliness of a human being, stripped of normality and hope. The movie plays genre as a dizzying balance of pseudo-realistic horror, classic drama, post-apocalyptic dystopia, a tragic romance, for good measure. Nor is it sci-fi/ zombie apocalypse as we know it. 28 days later (2002) is not your run-of-the-mill horror flick.
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