The septic isle is now a fully-fledged US protectorate: the American army has expunged all infected carriers and it polices Britain as a quarantine-state with one reasonably safe zone: London's Isle of Dogs, whose sleek glass towers have been pressed into service as Ballardian refuge colonies for those traumatised souls who survived the plague. 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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