Some shotguns might have helped here.Ī terrible encounter and a terrible betrayal leave Carlyle consumed with anguish, and 28 weeks later he is awaiting his children in the un-brave new world of post-apocalypse Britain.
As good fortune would have it, they had packed their two kids off to the safety of a foreign holiday before the great catastrophe began now they're in fear of their own lives, hiding out with a middle-aged couple in an idyllic country cottage transformed into a classically horrible Straw Dogs location, on account of the marauding anthro-vermin. Robert Carlyle and Catherine McCormack are Don and Alice, a terrified couple, glimpsed first at the initial movie's 28-day mark. I can only say that after a terrific beginning, the movie's credibility snaps like a frozen twig with one stupid plot-glitch around 30 minutes in and then, despite some spectacular moments, fails to disguise the fact that there isn't much mileage left in all those red-eyed folk running around growling and gibbering and chomping. They have entrusted it to the talented Spanish director Juan Carlos Fresnadillo (who made the hit metaphysical thriller Intacto) and a whole kitchen-full of cooks in the writing department. Here is the disappointing sequel, on which Boyle and Garland serve as executive producers. F our years ago, director Danny Boyle and screenwriter Alex Garland had a huge, bloodthirsty, flesh-ripping, eyeball-gouging hit on their hands with 28 Days Later: a post-apocalyptic vision of Britain reduced to anarchy with the leak of a dangerous virus called "rage", reducing one and all to ferocious zombies.
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