[15 May 2007]
PopMatters Contributing Editor
If there is such a thing as a successful piecemeal horror film, 28 Weeks Later is it. A sequel in source only to the wildly inventive 2002 Danny Boyle classic, this latest twist on the zombie genre (Okay! Okay! Let’s just call them ‘murderous maniacs’ and be done with it, all right?) suffers from a great many missteps. It gives us protagonists we really don’t care about, follows a very uncomfortable extreme vs. ennui narrative structure, and substitutes gallons of grue for ideas and innovation. And then there are the problems it could not have anticipated. Thanks to last year’s stunning Children of Men, the notion of a devastated UK as a symbol for social decline and war torn terrorism has already been purchased and spent. This makes any attempt at commentary by new director Juan Carlos Fresnadillo feel like a parable without a point.
We get off to a good start, however. It’s been several months since the outbreak of the Rage Virus in Great Britain and the US military has stepped in to start cleaning up the country. London itself is basically quartered off into two main areas – the danger free “Green Zone” (oh, how Iraq War) and everything else. Outside the boundaries of the tough talking, foul mouthed yanks, the countryside is crawling with the infected…as well as a few survivors. Don and Alice are two of the barricaded refugees, eking out a meager life inside a squalid yet secure cottage. They are joined by the home’s original owners, an elderly couple, as well as a pair of unidentified men. There is also a young woman whose boyfriend has gone out looking for help. Conversation naturally turns to this act of desperation, and after much hopeless banter, a knock at the door brings the group the latest in a seemingly neverending list of ‘do or die’ quandaries.
At this point, 28 Weeks Later makes its first minor fumble. The argument over who to let behind the intricate set of locks and barricades itself leads to a massive slaughter spree, and while the terror element is fantastic, the logical aspect is daft. One of the key flaws in this film is the idea that youth trumps everything. It is the reason Don and Alice end up staring into the face of horror yet again, and it will also become the catalyst for the film’s far more devastating plot decision. As stated before, the US military is envisioned as a sex obsessed, by the book battalion of bumblers who are supposed to guarantee the Green Zone’s security. Yet they can’t seem to stop a pair of pretentious kids from crossing over into danger. Backtracking for a moment, these juvenile lawbreakers are Don’s kids, released from a refugee camp in Spain and part of the lucky 15,000 individuals allowed back into London. So naturally, the first thing they want to do upon entering the country is sneak off to their old abode to snag some mementos.
It’s a jarring, unimaginable narrative fumble, the kind of logistical left turn that literally derails the film. In fact, it is so outrageously bad that Fresnadillo must spend the entire rest of the movie making up for it. And just as he almost succeeds, a second sloppy situation stuns the story. At that point, 28 Weeks Later is beyond saving. This is not to suggest what we have here is a horrendous flop. On the contrary, the visual elements employed and the generous amounts of inventive gore do a splendid job of supplementing our incredibly weak internal rationales. Even as more baffling incongruous coincidences occur (the kids found more than just keepsakes during their journey), leading to perhaps the most ludicrous re-infestation ever conceived for a fright film, the way Fresnadillo handles the artistic aspects is absolutely fascinating.
Still, there is a lot of ludicrousness to pardon here. Again, the Americans are looked upon as clueless, reduced to basically two surprisingly simple strategies – preserve order, or nuke everybody. When called to respond to the new epidemic, their carefully plotted out plan is basically this – unload your entire magazine into any crowd you see. Similarly, the lack of crystal clear characterization makes everyone’s motives seem suspect. Take the troublesome adolescent twosome. First they seem happy to be in England. Then they miss their ‘mum’. Then they act like spoiled little brats when they wind up in quarantine, and before long, their whimpering like whelps to be saved and protected. Similarly, our GI Joe hero shifts wildly from cocky to caring, arrogant to altruistic without a clear reason for the massive mood swings. The rest of the cast comes from the one note school of genre performance. They just keep hitting that single stance over and over again until we finally give up and concede the personality point.
There are reasons, however, to really like this scattershot effort. As stated before, Fresnadillo really wants to be a movie macabre innovator. He’s desperate to diffuse the typical dread dynamic by employing filming techniques that draw the audience right into the action. By mixing quick cutting, jagged handheld camerawork, mangled mise-en-scene and any other untested trick he can come up with, he allows us to experience both the fear and the frantic pace of a siege situation. Similarly, he uses this inventive approach to keep as much of the brutality intact as possible. There are sequences of violence in 28 Weeks Later that rival their literal zombie brethren in nastiness and effectiveness. Again, Fresnadillo must be livid that Grindhouse hit theaters first. His clever helicopter gag is actually better than Robert Rodriguez’s splatter session.
In addition, Fresnadillo is not afraid of flaunting convention. There are several moments in this movie where a firm foundation in standard Tinsel Town tendencies are tossed out the window in favor of shocking, sometimes sickening realities. No one is safe, anyone can die at any time, and the typical caveats against killing children, the innocent and the infirmed are almost wholly abandoned. Of course, for every shocking stance like this, we must suffer through a series of unbridled happenstances that are supposed to have some manner of emotional resonance. Instead, we as the audience become keenly aware that somewhere, in a studio bungalow, a group of screenwriters (four are credited here) actually concocted this forced accidental tripe. With an ending that’s uninvolving and kind of flat (never mind the direct rip off of Stephen King’s tunnel sequence from The Stand), and the purposeful placement of facets to form 28 MONTHS Later, what should have been a knock out can barely manage a decision on technical merits.
And yet there is something about 28 Weeks Later that definitely gets under your skin. Perhaps it’s the last remnants of Boyle’s initial inventive conceit. Maybe us horror fans are so sick of lackluster living dead movies that we will accept anything remotely resembling the genre just because it manages to be competently made and expertly manipulated. It could be the amount of bloodshed strewn across the screen, or the expressionistic way the violence is tempered (can’t wait for the UNRATED DVD edition). Whatever the case, Juan Carlos Fresnadillo is definitely a filmmaker worth following. His future is very bright indeed. After this unexceptional sequel however, few will be anticipating another return to this fractured franchise.