**mild abstract spoiler ahead** My feelings about this movie may very well be extended towards Boyle's movies in general : solid direction overall, but events did not fail to go from situational and behavioral realism to sudden heroical action nonsense.

It started off as rioting. But right from the beginning you knew this was different... 28 Days Later is directed by Danny Boyle and written by Alex Garland. It stars Cillian Murphy, Naomie Harris, Megan Burns, Brendan Gleeson and Christopher Ecclestone. Music is by John Murphy and cinematography by Anthony Dod Mantle. When animal liberation activists break into the Cambridge Primate Research Center, they come across a scientist who tells them that to release these chimps would be insane. They have been injected with a test serum known as "Rage", and it's highly contagious and spreads easily and quickly. Ignoring the warnings, one of the activists opens a cage and is attacked and bitten by a chimp and rage quickly spreads among the group... 28 days later... The amazing thing with Danny Boyles's 28 Days later is that although it owes a huge debt to the likes of George Romero's zombie films, and John Wyndham and Richard Matheson's writings, it still feels fresh and exciting. Film is quintessentially British, as evidenced by the rightly lauded use of a depopulated London for the starting point to the terror, yet there's an earthiness to our small band of survivors. These are flawed characters that are ill equipped to deal with the infected implosion, there's nothing remotely Hollywood about these people or the landscapes that frame them (CG is minimal, where hand-held digital cameras are the order of the day). There's a realistic feel factor that is rarely seen in other films of this ilk. Yep, sure there's implausibilities, but with the infected creatures running at a fair old clip, becoming scary creations in a stark stripped back land, there's too much fun being had - and nervous tension being burnt - to even begin to start nit-picking. Besides, the last quarter alone is a lesson in energy fuelled horror as the survivors, having seemingly found a safe house, find that monsters aren't merely confined to the infected human kind. It's a cracker-jack of a finale, bloody and bloody frantic, all backed by Murphy's simple but totally potent musical arrangements. It's easy to see why America made it a monster hit at the box office, after just making a small profit in the UK, film went to America and made it big. Americans, you have to feel, enjoyed watching something raw in a sub-genre of horror that was at the time reliant on Romero rediscovering his mojo. Worldwide the film made over $70 million in profit, and those are the kinds of figures that speak volumes. The success ensured a sequel would follow, where Boyle and Garland bowed out of the main chairs and into producers roles for "28 Weeks Later". It's not as raw as "Days", but it's gorier and itself also a fine "infected" horror movie, and certainly a worthy follow up to what Boyle and Garland clinically created in 2002. A great cast and premise get down and dirty In a sharply executed infected based horror. 8.5/10

_28 Days Later_ was made on a very small budget in the early days of digital cinema, so, yes, in retrospect, it does look a little bit like it was shot on a Nokia 3310, and yes, it is heavily responsible for the bilious deluge of zombie movies we got in its wake, which we are only now finally recovering from - but it's so **good**. _Final rating:★★★★ - Very strong appeal. A personal favourite._

One of the best zombie movies ever made with many of the genre's "firsts:" 1. The first that begins with an actual explanation of what created the zombie plague. 2. The first to introduce a fast-moving "infected" horde, ratching up the tension significantly. 3. The first to infect people instantly (within seconds). It also has one of the best movie scores, one that rivals those from John Carpenter classics "Halloween" and "The Thing." It is striking how the music can elevate a movie or a scene. The biggest issue, which to be fair, is not something Danny Boyle and his crew could have foreseen, is that it was shot in low quality SD, making it nearly unwatchable on large screen modern HD or 4K TV's.

"28 Days Later" is a British horror movie directed by Danny Boyle and starring Cillian Murphy and Naomie Harris. The film tells the story of Jim (Cillian Murphy), a courier who wakes up from a coma to find London abandoned and overrun by rage-infected humans. The film's opening sequence is one of the most iconic and powerful in horror movie history. Jim wakes up in a hospital room to find the world he knew has disappeared, and the eerily deserted streets of London make for an unsettling and ominous backdrop. The film is expertly paced, with a gradual buildup of tension that keeps the audience on the edge of their seats. The infected humans are terrifying, fast-moving, and relentlessly violent, and the film's use of sound and lighting only heightens their impact. One of the standout features of "28 Days Later" is the excellent acting by Cillian Murphy and Naomie Harris. Murphy delivers a convincing performance as Jim, a man struggling to survive in a world gone mad, while Harris shines as Selena, a tough survivor who has learned to navigate the dangers of the new world. The film's themes of survival, loss, and the resilience of the human spirit are powerful and thought-provoking. As Jim and Selena make their way through the deserted streets of London, they encounter a range of characters, each with their own story of survival and loss. The film's cinematography and visual effects are also top-notch, with haunting and memorable shots of a deserted London and intense action sequences that will leave you breathless. Overall, "28 Days Later" is a masterful horror movie that sets the bar high for the genre. The film's excellent acting, pacing, and visuals make for a truly unforgettable experience. I would rate "28 Days Later" a 8 out of 10. Written and Reviewed by RSOliveira

Despite being warned that a group of monkeys about to be released from a lab by some anti-vivisectionists are laced with disease, they let one of them out anyway and next thing it's a month later and "Jim" (Cillian Murphy) wakes up in hospital all by himself. There's not a soul to be seen, anywhere. He can't spend the entire film wandering about naked, so finds some scrubs and goes exploring - gradually gleaning information about the plague that led to the evacuation of the cities and to his current isolation. It's not as if he had anything to do with the release of this virus, but he now has to deal with it's consequences. Luckily he encounters "Selena" (Naomie Harris) and "Mark" (Noah Huntley) who save him from a marauding mob (think "Omega Man" from 1971) and their risky adventures begin trying to find what's left of humanity and hopefully safety. A wind-up radio broadcast gives them some hope, and off they travel with newfound friends "Frank" (Brendan Gleeson) and his daughter "Hannah" (Megan Burns) in their black taxi (so of course, it takes a circuitous route) to Manchester. Their arrival visits tragedy on the small group but also introduces them to the last bastions of military security - under the command of "Maj. West" (Christopher Eccleston). Pretty swiftly they realise that very little of this new scenario is much safer for them and their thoughts turn to leaving...! This is quite an effective apocalyptic tale of corrupted science and morals and uses, for most of the first section of the film, dialogue sparingly allowing the eerie photography and soundtrack of a largely abandoned London to set the scene for us. Thereafter the writing isn't the best, but the benign sense of menace exuded by Eccleston and the confidence of both Harris and the young Burns work well at giving us an almost claustrophobic sense of peril, especially as we drift to a denouement that is cleverly constructed to make us think. It's bleak and threatening at times, not without the odd dark humour and in the end presents us with quite an intriguing look at humanity in many of it's less attractive, more visceral, guises. Danny Boyle and Alex Garland keep a few twists for the tale at the end, too, and Murphy holds it all together in an understatedly potent fashion.