It proves that, even after the apocalypse, the weather will still be a national obsession and the scene sets up an unforgettable sudden thunderstorm to accompany the fast, gut-punch, brutal third act. Survivalism is better represented by a tower block rooftop covered with a pathetic array of bright plastic buckets, basins and bins to catch rain that hasn't fallen. An American film on this theme would start with the survivors gathering guns and using them as if they'd been fighting wars all their lives here, even the toughest character - hardboiled chemist Selena - isn't that skilled at fending off zombies. Wells' War Of The Worlds to Daleks: Invasion Earth 2150 AD. It strikes chords with anyone who has ever wondered what the place would be like without people, and is embedded deep in the psyche by everything from H.G.
28 days later movie series#
Floating in the mind of 28 Days Later are lasting cultural artefacts passed around or hotly discussed in British school playgrounds for decades: the novels of John Wyndham (the waking-up-in-a-deserted-hospital bit is a nod to Day Of The Triffids) and James Herbert (one scene hinges on a flood of rats) or the science shock TV series Doomwatch (don't trust the labcoats!) and Survivors (if everyone's dead, what's the point in surviving?).ĭepopulated London, stunningly achieved by snatched digi-cam shots of empty streets and abandoned landmarks, with minimal CG employed, is a resonant location. Here, Danny Boyle and novelist Alex Garland (doing a lot better by an original screenplay than in adapting The Beach) evoke Romero, as survivors try to cope with the evil walking dead and the gun-toting shreds of devastated authority - but they aren't content with mere pastiche.įor a start, they invoke the specifically British roots of this genre. The last time a Brit tried to make a zombie movie, it turned out to be Resident Evil - a feeble, bloodless, scareless imitation of George Romero's Living Dead cycle.
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