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Movie Review of Horror Flick: 28 Weeks Later

Movie Review of Horror Flick: 28 Weeks Later

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4.67

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Published by W.B. Keckler
Here is a review of the horror flick 28 Weeks Later, the sequel to the hugely popular 28 Days Later. Have fun laughing at how well this movie did its job of scaring the bejeesus out of this reviewer! :-)
Here is a review of the horror flick 28 Weeks Later, the sequel to the hugely popular 28 Days Later. Have fun laughing at how well this movie did its job of scaring the bejeesus out of this reviewer! :-)

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Published by: W.B. Keckler on Oct 27, 2007
Copyright:Attribution Non-commercial

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09/06/2012

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Movie Review: 28 Weeks Later Okay, I didn't want to watch this movie. I kept putting it at the bottom of thedvd pile, until Lee said "It has to go back tomorrow. We have to watch it today."And I said "Alright.""Alright," I said. Stupid fucking me.Okay, it's been a half hour or forty five minutes since 28 Weeks Later ended anddo you know how I feel? I imagine I feel how an animal in a slaughterhouse feels,its body flooded with horrible endocrinal jets of fear energy. It's almost enoughto turn me into a vegetarian. No, a VEGAN! No, a FREEGAN! Oh fuck that shit. I'm acarnivore cradle to grave. BUT THIS MOVIE IS EVIL!!For those of you who live under a rock (or those of you who happen to be ivorytower intellectuals who don't sully your hands with the craptacular products ofconsumer culture like this movie) this is the sequel to the hugely popular andhorrific 28 Days Later in which a virus (popularly dubbed "The Rage Virus") turnshealthy individuals into frothing, flesh-starved zombies within moments ofinfection. 28 days is the amount of time it took the virus to destroy England.This first movie was pretty much a nonstop assault on one's nervous system andthere is very little redemption. Parents eat children, children eat parents,priests eat parishioners, parishioners eat priests...well you get the idea. Themovie has no room for a moral or moralizing in general. It's just the existentialfucked state of mankind, exacerbated by a kill-or-be-killed environment where asecond's hesitation is death. In other words, the usual human war.This sequel, 28 Weeks Later picks up exactly there. The zombies have killedeveryone they could kill basically, then starved to death. Does it really makesense that in this rabid, psychotic-like state the zombies can always tell whom tobite and whom not to bite just by looking at them? Why don't they eat each other?Do they really taste that bad? It's sort of a dumb thing, and one is not supposedto ask that question I guess. Then again, maybe these zombies don't even eat;usually you just see them killing people. They're usually seen biting off bigchunks of someone's neck or face, but maybe (like bad girls and boys) they don'tswallow. Maybe the rage virus just makes you virulently attack peopleindiscriminately with no real reason (like hunger) at all, sort of likeRepublicans.SPOILER ALERT STARTS HERE:Anyway, this movie starts with a flashback to the days of the first infection withRobert Carlyle (playing even more of a bastard than his Begbie role inTrainspotting)keeping his wife and in-laws alive in a boarded-up house. They arediscussing how glad they are that their children (son and daughter) were studyingoverseas when this virus broke out, that they are safe. No sooner is this saidthan they hear a young boy frantically pounding on the door and pleading to be letin. The infected are coming and an immediate argument ensues. Should he be letin...is it worth the risk, yadda yadda. The wife's kindly heart prevails and theylet the boy in. But the infected are not to be denied their meal and soon thehouse is being torn apart shingle by shingle, nail by nail. The in-laws areconsumed and Carlyle's character, his wife and the boy retreat upstairs. Thesethings leap at one with the speed of a cobra on the strike and are spewing bloodfrom their throat every few seconds. It's quite a lovely picture. At a pivotalmoment the man finds himself standing behind a door with a sturdy lock on it andhis wife (sheltering the boy) is on the far side of the room completelyvulnerable. She calls out to him but he slams the door shut and locks it. Heescapes from the house as she screams for help, and then he races across a field
 
pursued by dozens of the creatures, looking back to see his wife standing in anattic window screaming. He escapes by motorboat to London where he is rescued,leaving his family behind for dead.Very grim, right?So now it's 28 weeks later and one portion of London is being recolonized, sincepresumably the infected have all starved to death. There are some spectacularshots of London as a ghost town (thank you computer graphics and 4:49 a.m.shooting schedules, no doubt). Shades of Bocaccio, shades of Poe's the Masque ofthe Red Death, these people have turned the fine art of immuring oneself into ascience. So what goes wrong this time?The children are reunited with their father, who of course lies about whathappened to their mother. He had no chance to save her. The children want torevisit their old house, which is in the Forbidden Land, so they escape thecompound and return home. They find their mother alive in the attic still. She hassurvived, because she has a mutation which brought with it a concomitant immunity,a condition which may or may not be shared by her children. (The son has twodifferently colored irises, just like his mother).I won't explain the whole rest of the plot in detail, but suffice it to say Motherand Father do face one another and the reconciliation might not go the way you hadhoped it would. In fact the whole movie descends right back into Hell.I imagine a lot of people find these movies very funny. I mean the grotesquerieand hopelessness gets to be so overwhelming you have to laugh here and there atsome of the excesses of the grue thrown on the screen. There is a CLASSIC sceneinvolving a helicopter that should win some sort of Gore Award. Are there GoreAwards (no, not Al's Nobel).I won't give you the ending, but you should know these movies don't really believein human redemption or salvation, either morally or as in being saved from thehorror.Think of how the Masque of the Red Death ends. Think of the last line that Poewrites in that story. That's pretty much the take both of these movies have onhumanity-- that whether it's a virus or a monster or a big black Blob that comesto destroy humanity, it will ultimately be humanity that destroys itself in itstypical irrational reactions to terror, fear and even suffering. Ironically, inthese movies it's often perfectly wonderful (but irrational?) love for family orhumanity in general which leads these characters on to courses of action whichhorribly worsen matters. This makes one wonder if this movie is really a favoriteamong cold-hearted scientific types, who laugh at how sentimental people who can'tbear to quarantine their loved ones (or kill them) ultimately ruin it for all ofus. Is this a disguised attack on the left by the right? Nah, that's giving movieslike this too much credit. Probably every scene is designed purely on the basis ofhow much it can horrify or sicken you. In this, the filmakers had the tenacity ofthe best engineers.And maybe the movie's just saying "sometimes you're just fucked." If you'restanding in the wrong moment of history, you're definitely fucked. Not deep buttrue.I shouldn't pretend this movie is an intellectual exercise. It's not. Your adrenalglands will get the workout...and your heart and everything else that responds tothat hormonal pumping. And believe me, you will probably be pumping it out.

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