The day after tomorrow trailer official

The day after tomorrow trailer official

The early scenes, with Jim wandering the debris-littered streets in scavenged hospital scrubs, lend freshness at last to overused shots of Parliament on the Thames the sort of poignant reinvention that the picture finds again in the joyous looting of an abandoned supermarket, but that it cant maintain. After springing a particularly nasty Bosch-ian tableau in a looted church, 28 Days Later demonstrates an anarchic energy that marks its first half as a fever dream that its second half feels compelled to justify. The problem with the film is that urge to proselytize to offer the kind of Lord of the Flies coda favored by screenwriter Alex Garland author of the similarly-themed novel The Beach that proves condescending to a savvy horror-movie audience prepared to draw its own conclusions particularly when the conclusions are as timeworn as the ones in 28 Days Later. Still, the picture makes interesting choices, such as its decision at the end to switch from digital to film stock, marking the grit of the film as a canny artistic choice similar to, if not on a par with, Hitchcocks decision to film Psycho in black-and-white. The future of digital cinema may lie in the intimacy it affords B subject material, lending a documentary feeling to myth and allegory Atanarjuat: The Fast Runner, 24 Hour Party People, The Blair Witch Project that grounds archetype in the muck of mendacity. More to the point, the use of handheld digital can be unsettling and frightening in its rudeness; and when 28 Days Later decides to frighten, which it does often, it manages to do so with a kind of ugly vigor. A model of thematic economy, the picture ultimately suffers, like so many new horror films, from too much self-awareness turning its smarts into something that sometimes feels suspiciously like superiority. Yet the seriousness of its approach to horror, the respectful presentation of its dark fairy tale through genre conventions, identifies 28 Days Later as a picture worthy of a look, and the compliment of discussion. Walter Chaw trained in British Romanticism and Critical Theory, and is now the chief film critic for Syndicated weekly in 32 small print journals, he is a nationally accredited member of the Online Film Critics Society. His previous reviews in Strange Horizons can be found in our Archive. To contact Walter, email by Jeter, reviewed by Brendan Byrne by Jacques Tardi, reviewed by Chris Kammerud by Jean-Christophe Valtat, reviewed by Adam Roberts by Iain M. Banks, reviewed by Abigail Nussbaum by Jillian Weise, reviewed by Niall Harrison by Douglas Hulick, reviewed by Alexandra Pierce The Search for Philip K. Dick The King of the Elves: The Collected Stories of Philip K. Dick, Volume I by Frances Hardinge, reviewed by Martin Lewis by Karen Russell, reviewed by Chris Kammerud The Collected Stories of Carol Emshwiller, Volume 1 reviewed by L. Timmel Duchamp by Carol Emshwiller, reviewed by Paul Kincaid by Carol Emshwiller, reviewed by Maureen Kincaid Speller Intensely violent science fiction thriller about a handful of survivors including Cillian Murphy and Naomie Harris struggling to stay alive in a post-apocalyptic England decimated by a powerful virus that turns infected humans into rabid, bloodthirsty maniacs. Despite an on-screen blood-and-gore level teetering on the excessive, the day after tomorrow trailer official Danny Boyles hard-core horror film raises interesting questions about mans capacity for inhumanity, while offering some genuinely scary moments. Much graphic violence, recurring rough language and profanity, as well as fleeting full frontal nudity within the context of medical treatment. A-IV adults, with reservations. R 2003 A powerful virus that transforms those infected into rabid, bloodthirsty berserkers is unleashed on England, leaving only a handful of survivors struggling to stay alive in the intensely violent science fiction thriller 28 Days Later Fox Searchlight. Echoing cult classics like Dawn of the Dead and The Omega Man, director Danny Boyles stylized hard-core horror flick offers viewers food for thought about mans capacity for violence, while ratcheting up the bloody carnage to a level teetering on the excessive. The film opens as a band of animal-rights activists raid a primate research facility, where they come across a lab full of caged chimpanzees, some forced to watch monitors flashing ultraviolent images. Turning a deaf ear to a technicians dire warnings that the simians are infected with a deadly virus called rage, the activists begins to free the chimps, which immediately attack their liberators with vicious ferocity. After a fade-to-black ellipsis, the action resumes 28 days later in a hospital room, where a bicycle-messenger, Jim Cillian Murphy, wakes up from the monthlong coma he incurred in a traffic accident. Getting out of bed, he finds that not only the hospital but all of London is a virtual ghost town, adorned with hauntingly mysterious memorials suggesting some cataclysmic disaster. Drifting bewilderedly through the eerie post-apocalyptic landscape, he wanders into a church where he discovers a chapel piled to the rafters with corpses. He is attacked by a priest literally foaming at the mouth. The scuffle alerts other rage-positive infectees to Jims presence. Panicking, Jim rushes out into the street with the anger-management candidates hot on his heels. He is rescued in the nick of time by two Molotov-cocktail wielding fellow survivors, Mark Noah Huntley and Selena Naomie Harris, who usher him into the relative safety of a nearby subway station. Holed away, they begin to fill in the blanks, recounting to Jim as well as the audience the the day after tomorrow trailer official of events of the previous 28 days. Once released from the monkey lab, the disease spread like wildfire, causing a mass exodus. Life as they knew it ceased including radio and TV broadcasts. Containment proved ineffective, with rumored cases as far-flung as Paris and New York. They inform Jim that the rage-inducing disease is transmitted through blood and salvia. Within seconds of being infected victims turn into vomiting, red-eyed killers with a permanent case of blood-lust that makes road-rage look downright Amish. After Mark is infected and killed during an attack by the ghouls, Jim and Selena seek out other survivors, eventually hooking up with Frank Brendan Gleeson and his spunky daughter, Hannah Megan Burns. Frank has picked up a faint radio signal broadcast from an army base outside Manchester offering sanctuary. With their water and food supply running low, the ragtag band decides to attempt the perilous journey through miles of terrain besieged by rampaging zombies. Yet upon arrival at the military installation they learn that it is not the day after tomorrow trailer official flesh-hungry legions who pose the greatest threat, and that, even without the virus, man has his own inborn homicidal tendencies. The filmmakers use of digital video and frenetic editing techniques, as well as head-splitting punk rock music, adds to the overall deranged sensory experience that effectively conveys the psychological turmoil triggered by the virus, creating a visceral almost primal projection of murderous rage.