This Day. This Moment. Now.
Boyle’s thrilling ride is a family drama that seeks stillness and devours it all the way. The infected virus and a lone family surviving the extinction, a concept that has been visited a many times, and a concept that more than often delivers. Fortunately, being on the larger margin, the film’s eerie camera work and the uncertainty of the antagonist that even scares the viewers as much as a walk in the dark does. Visiting new locations and meeting new characters, the film never feels like shattered into various chapters, the transactions of one antic as such to another is left on Boyle’s brilliant execution that fabricates Garland’s explicit script into a documentary like footage.
Among these various so called chapters, one of the best is the sort of semi-government camp of troops that helps our lead characters survive. This is where Garland’s vision widens and generalizes to a taunt that cuts deepest into our bones, as a society. His message is so vivid and jaggedly on mark, where he peels the human nature to its worst honest figure that the harrowing images is the least concern of ours on terms of horror.
To weave out a satire as such at a point of crises shows the brilliance of the makers and the zest of sculpting art as delicate and as honest as possible. Murphy as our host to this infected world remains the last one to be on lead and feels less of a protagonist than any other, this ingenious method of Garland keeps the tale grounded in this fiction. Harris as a strongsmart jaw clenching woman and Gleeson as an overprotective supporter helps stabilize the tone aptly. 28 Days Later predicts less of the future world and mirrors more of our current issues of loss and gain.