User Reviews

Don't remember this film being this bad but watching it now, it's simply nonsensical. Main characters (the kids) that you just can't get behind based in their actions. The plot retcons a ton of occurrences from the first film, this changes the entire tone of the franchise. Lastly that brilliant cinematography from 28 Days Later is replaced with overdone night vision scenes, unnecessary slow mo, and still shots that are intended to add eerieness to the film. These shots ultimately had an adverse effect. Overall this is another sequel that aged like milk.

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

Continuing the style of its predecessor, 28 Weeks Later once again focuses on small characters and intimate stories. Yet for much of the film, this unconventional narrative approach struggles to inject real emotional weight, leaving the experience somewhat detached.

[SPOILER ALERT: This review contains spoilers.]

the first film reached cinematic glory; the second doesn’t come close to matching it. '28 weeks later' offers a less intense, less visually striking story with characters lacking the charisma of the original. the plot feels weaker and less engaging. interestingly, the director is spanish, and part of the film’s production is spanish too — unfortunately, spanish cinema rarely hits the mark in this case. danny boyle left us with a sweet taste and wanting more, but this sequel steals that satisfaction away. despite the negative reviews, it’s not a total disaster, but it’s definitely one of the worst sequels i’ve seen. making a good second installment is tough, and this one just doesn’t succeed.

A great cast wasted on a bad script. The story is packed with weird twists, the camera work is overdone, and the characters’ dumb decisions are downright annoying.Lacking heart, it’s a frustrating and poorly written sequel that fails to live up to the original. What could have been a tense, emotional follow-up ends up feeling hollow and rushed. Even the strong atmosphere can’t save it from its own messy storytelling.

Better than the first, but still far from being a good film. The dialogue is dreadful and the kids are insufferable — I’ve never wished for kids to die in a movie this much! The pacing is terrible, and the film has aged terribly. Even back in 2007, it must have already looked cheap.

Bigger doesn't always mean better. Despite the larger budget and offering a slightly more polished production value, 28 Weeks Later fails to deliver in the same way the original did.

A great follow-up to the famous '28 Days Later...' prequel. We found back that devasted London with its thrilling atmosphere. We did lost the gritty texture of the images to something way more lush and polished but somehow more drafty, sketchy and jerky. Action scenes are less understandable than ever. I had to rewind numerous times to get what was happening. Combine that with some really dark passages and it becomes kind of difficult to get what's on.Some shots are just mindblowing especially the shots from above the city.Characters are really lovable, despite some we just don't care about (as Sam, in the last quarter of the movie). Of course America couldn't resist sticking its nose in and getting the 'control’ of the epidemic situation. Following the family is really intersting, as they all face their dramatic fate. Bonus for the open ending, I can't wait to see how the brand new final movie '28 Years Later' uses it!The soundtrack is still on point, contributing powerfully at the whole **** pace is terrific, as it goes crescendo during the first act, the second half of the film is simply a collection of the most chaotic and disorganised scenes of the franchise so far. It is even a bit too easy for the original situation to derail. It is raw, unethic and absolutely brutal. Too bad that, like in the first movie, the army is the one getting things nastier; we've seen it before. A bit too much for me sometimes but I can't deny the tour de force that '28 Weeks Later' is.

Thank you, Juan Carlos Fresnadillo, for 28 Weeks Later : it’s a sequel with heart, tension, political edge, and an immersive world.

I maybe like this more than the first. There are several very well done and unique zombie sequences.

Five months after the cataclysmic events of 28 Days Later, society appears to be recovering. Strict quarantines have done their job, waiting out the herds of roving infected until a lack of food (read: human victims) put the whole mob down for good. Cleanup will be a long-term affair - major metro areas being particularly messy - but the public is looking for good news and military bigwigs are eager to prove their value by obliging. They’ve been gradually moving civilians back into a small, tightly controlled area of London, reintroducing a sense of daily routine to the geographic heart of the viral outbreak. But we can’t exactly have a zombie movie with no zombies, can we? Nah. Rather than snowballing popular optimism and a swift recovery, a few bad decisions (okay, *very* bad decisions) swiftly threaten the whole mess and set that proverbial ball rolling in the opposite direction. With no recurring characters from the first film (nor a returning director, as Danny Boyle was otherwise occupied), 28 Weeks Later is a standalone sequel that demands no knowledge beyond the understanding that there will be crazed, blood-hungry monsters about. It opens with a pop, an intense flashback to the initial outbreak that finds a small troupe of survivors ambushed in their safe house, then leaps to the present and settles in to watch bureaucracy’s attempt to reestablish order in the wake of a near-collapse. These are the good bits, the reminders of what made the original film so special and different and challenging. Athletic, tireless monsters; intense, frenetic camerawork; frequent reminders that our fellow humans can pose a greater threat than the zombie menace. Roughly the first hour is a smart continuation of these themes and ideas, but then things take a sudden, drastic veer toward convention and we begin to realize we’re actually in a big, mindless action movie. There’s something of value beneath it all, a few valid thoughts about the tenuous grip of administrative command and its wild panic when faced with a potential embarrassment, but that’s largely left to undercurrents in favor of big guns, bold decisions, silly predicaments and even sillier solutions. These, needless to say, are the bad bits, and they’re awfully tough to look past. 28 Weeks Later is slick and well-produced, sharing a cohesive atmosphere with the original. Much of this can be attributed to the abundance of handheld footage and the chugging, hauntingly familiar soundtrack cues. The opening attack scene is a real pulse-pounder, an excellent page ripped from that same old book, but this sequence soon fades into distant memory as the film loses its way. Jeremy Renner plays exactly the kind of cardboard do-gooder that the first film seemed so determined to protest. We chase a miracle cure and scramble past napalm and nerve gas. A helicopter mows through waves of monsters like a weed whacker. Where the original was up-close and personal, this one goes wide and shallow whenever it can. I laughed far more than I flinched. Hard to see that as anything less than a regression.

Unlike its predecessor, 28 Weeks Later makes the zombie horror front and center for a gory, thrilling and action-packed watch, even if its plot is rather predictable and the constantly shaking cameras become irritating to sit through.

"28 Weeks Later" is a step down from the original without it's original masters behind the camera but it's better than anyone expected at the time. Six months later centering on a different cast of new characters who are dealing with now what they at first what think is a 'contained' epidemic. We begin in media rest with Robert Carlyle (known for "Trainspotting" with Danny Boyle and "Full Monty") who plays Don Harris and his wife Alice played by Catherine McCormick are with a group of survivors they've barecated themselves inside a farmhouse everything seems like it's going well but no they let a kid in who is being chased by infected and a mob of infected surprise attack a few minutes later and it leads to a Force Majour moment where Don rather than risk his own life to safe his wife who is eager to protect the kid, he leaves them and high tails it out of there and he jumps on to a boat his friend has started and the infected chase after them capture and kill his friend off the boat and now as one of the few survivors in the U.K. has been put to work in an army base that's been set up on the isle of dogs and his two kids who have been evacuated overseas with other children like the Blitz during World War II and finally get to return home they're played by Imogen Poots and Mackintosh Muggleton he tell them that he saw her get bitten so the kids decide to go to sneek into London to get some stuff from their old abandoned house to get some stuff that belonged to their mother, what could go wrong? Answer, a lot as it turns out! Along the way we have sympethetic military guys played Jeremy Renner and Harold Perrineau we have no nonsense commanding officer BG. Stone played by Idris Elba and and we have Rose Byrne as Maj. Scarlet Levy a medical officer who insists they're not ready to have kids show up in quarentine and she right because none of them are prepared for what the kids manage to unlock including the fact that their mother Alice is not dead after all these last six months which means their dad has some explaining to do and the mom is similar to Bella Ramsey's character on The Last of Us immune from getting infected but in this case she's a contagious carrier of the rage virus and infects her husband who sets off a domino effect causing more infected to spread across the army base. Juan Carlos Fresnadillo a Spanish director picks up the torch from Danny Boyle and Alex Garland and you can tell it's a different directing style. From the very begining it's all this shaky cam and a lot of spritely editing that's not intuitive like weird cutaways to something else during an action sequence that makes it hard to follow and a bit distancing, the shaky cam is very post Black Hawk Down. This is an average sequel but there is some effective in it this new creative team build some tension there's some cool set pieces that involve people caught in way over their heads and the performances are committed so I can see why the reviews were pretty positive but I wish there was more to these so we could care about them more the way we cared about Jim, Selena and Megan and showing how they react to the world around them, how they navigate different obstacles and these have some interesting traits but not much to feel invested. I at least admired that they were willing to go this hard with it and shoot everyone and it makes Jeremy Renner's character have a crisis of conscience which is flirting with ideas of conflict between militarism and containment.

Where do I start with this film... The logic is so poorly developed, and the fact that this is rated higher than usual is weird. I like Zombie movies, but in this film, the plot, the decisions made by the characters make no plausible sense. I found myself face-palming like 4 times, how stupid the choices and decisions made in each scene were, and how they were set up. Are you telling me the mother who was infected and immune was not watched by any type of surveillance, or at least 2 guards on **** this a joke? And let me not start with the Army and their decisions. All of this makes no sense, but that first scene in the house is really good. 5/10, It started so well, but then developed into this plot where everyone is stupid, and everyone dies for no reason at all. infact why people are trying to settle in a Red Zone of the virus is beyond me.

It honestly feels like the cameraman caught the infection too, because every time there's a zombie attack, the camera shakes so violently it looks like an earthquake, it becomes nearly impossible to see what's going on, i had no idea what was happening most of the time, and the excessive shaking gave me a headache, it's not just annoying, it's frustrating. Unfortunately, that's not the only frustrating thing about this movie, but the whole movie, aside from Jeremy Renner (and maybe Rose Byrne), all the characters are mostly stupid and some are stupider, especially Andy, one of the most annoying stupid kid characters i've ever seen. It just wrong, they change the director and the writer, and it's a complete mess, completely dismantled what made the original film work, gone are the gritty realism, the raw atmosphere, the grounded performances, and the effective tension without relying on cheap jump scares. Overall, 28 Weeks Later is a frustrating experience not in a good way, it's boring, poorly executed, and painfully stupid at times, honestly, it's not just one of the worst sequels i've seen, but one of the worst movies i've ever seen.

Très décevant par rapport au premier volet. Même si les acteurs sont bons . Le thème abordé de survie après la première vague est intéressant, mais mal exploité.

Wow, what a great film, I loved it! In particular, the opening sequence was truly spectacular! Throughout, the acting was decent, I liked the story, it seemed realistic. The story around the father and his wide was great, and the kids really emphasised the choice made. The sound was great too! I'd definitely watch it again!

With the franchise now in the hands of other cinema professionals, “28 Weeks Later” does an incredible job of replicating Danny Boyle’s directorial style, as well as Alex Garland’s Britain of horrors. Everything, including filming setbacks, such as the original’s shaky hand cam recordings and experimenting with color and quality, have been reproduced. This sequel now includes wonderful cinematography, heightened clarity and an improved color palette. The plot of the film is entirely believable, adding to viewer suspension of disbelief. The premise is truly exciting, able to keep viewer interest thru its unexpected and heartbreaking narrative. “28 Weeks Later” is an almost flawless production! Were it not for some small defects, such as an only better-than-average script, an extremely poor soundtrack (the instrumental metal music is completely out of place), and a rather abrupt and inconsequential ending (a new type of enemy could have been introduced here), this film would have only required a deeper moral message to be counted among the great horror classics of all time. Despite these trivial issues, “28 Weeks Later” is excellence in filmmaking, and a definite must see for any Horror afficionado!

O yıllar da izlesem belki severdim ama günümüz için vakit kaybı. Daha iyi yapımlar var.

Une suite non dénuée d’intérêt grâce notamment à un scénar certes nanaresque mais bien construit dans l’ensemble. Le rythme ne faiblit pas et la distribution reste bien agréable à part le bras cassé Perrineau et le monolithique Elba bien sûr. Carlyle réserve quelques surprises, Byrne est bien jolie et compétente alors que celle qui a un nom qui peut faire sourire (Imogène Prout) se débrouille très bien (et est bien jolie elle aussi !).La musique de John Murphy s’avère efficace et tout devrait donc rouler avec allégresse dans ce Londres très surveillé qui connaît une rechute zombie particulièrement brutale… C’est que -hélas- malgré une action qui tache assez souvent (splatch)- l’action elle-même ou du moins dès qu’il y en a, l’action -et vous allez voir où je veux en venir- l’action, disais-je, c’est promis, je vous en parle au prochain paragraphe !L’action donc, est très mal filmée et la caméra épileptique bouge dans tous les sens ! ça en devient totalement risible -et lamentable… et navrant également ! quel gâchis, car par ailleurs, c’est bien mis en scène quand la caméra ne fait pas de la merde. Heureusement que le montage reste à peu près correct, enfin, je crois. Mais malgré ce défaut tout à fait désagréable, le film reste sensiblement meilleur que « 28 Jours plus **** » !

Conserva la estética de las película anterior, incluso con esos movimientos de cámara tan caóticos y se fotografía; sin embargo, falla debido a un guion realmente flojo que tiene un montón de agujeros.

Fantastic "fast zombies" film with a great Rose Byrne and Jeremy Renner performance. Much better than 28 Days Later. Less melodramatic, more action, better character arcs.

The movie should of been called 28 plot contrivances later? This movie does follow the same theme that the military are incompetent villains, but way overboard. The opening of this film was great and if the movie had of stopped after boat scene? This would have been a classic short movie for sure. The plot contrivance of the wife/mother escaping with "tell don't show" I so didn’t buy it. The second major plot contrivance to propel the whole movie was plain dumb. An infected patient was left unguarded and unmonitored so her husband could just stroll in a what should of been a high security military quarantine area. Oh yes how does the infected Father even track his kids all over the city? They was driving around in a car at one point. Dumb out of 10.

There was so much shaky camera, it made me nauseous. It had a very slow start, like 45 minutes of slow but when it kicks in it does become much more engaging. Really great acting across the board except some of the minor roles. The last fifteen minutes were anticlimactic. Overall a really entertaining middle with a forgettable start and finish.

Very successfully pissed on the first movie. In this sequel, love and empathy ruins the world and makes everything worse for humanity. Love no one, kill everyone, what a great message.

The script is 70% tropes and 30% convienence. Unlike the first movie, these are no longer people infected with rage. The virus now just makes them into super-zombies that are still alive without a functioning heart or any internal organs. This is only made worse by the fact that if the main characters had just used a radio to communicate the fact that the children are VIPs, then the second half of the movie would have been completely different. The father's ability to magically track his kids is equally baffling in it's sheer convienence. Lastly, the nonsensical claim that a small group of infected are far more likely to spread to other countries, instead of that happening when 20 Million people were infected the first time around, is indicative of how much effort was put into this script.

A worthwhile sequel. An opening sequence that is as powerful as that of the original. A tight and well made horror/thriller.

28 Weeks Later, different from the original, but enhancing its disastrous message.

[SPOILER ALERT: This review contains spoilers.]

Was never going to beat 28 days later but it's a respectful attempt at a sequel.

[SPOILER ALERT: This review contains spoilers.]

Está genial, hay más acción y es más explícita, es lo suficientemente buena para estar a la altura de su predecesora, pero los personajes de aquella me cayeron mejor y en esta secuela el conflicto se desata gracias a la imprudencia de los jóvenes protagonistas.

A poorly written zombie outbreak...again This movie was pretty much horrendous to watch that I could barely pull myself through to finish it. The shakey cam is so annoying and awful, the characters themselves are boring without any bit of character development or personality. Generic through and through. The scares are predictable, loud jump scare noises some of which are fake and drawn out. The **** the characters displayed in this world are so inept. Those infected have much more intelligence than the actual characters for sure. That being said this movie had a lot of potential due to its setting. The fact that they tried to cover the situation after a zombie apocalypse can be really intriguing but it's so tough to follow and pay attention unless you stop thinking entirely about how this movie is gonna go. The army having absolutely no one to guard an infected person while someone else is able to pass through pretty much everything is unfathomable. And afterwards that 1 infected person inside the heart of the army is able to pretty much summon an army of zombies for the movie to continue. + Nice setting, location - Below average acting - Horrible jump scares some of which are fake - Forced plot through pretty much everything - Chickens would survive better than these humans in this movie - The army is absolutely inept at everything - Unrelatable characters There are many other zombie movies out there way better than this one. This is pretty much a waste of time.

The Threat Has Been Wiped Out. 28 Weeks Later Fresnadillo's torch is unfortunately not illuminating as it was when Boyle passed it on. Although it ironically seems accurately titled, since each second spent in here seems like a big old drag. What it does get right is, the depiction of time driven by fluently that doesn't comes across too much news-y. But this sharp vision of the makers on the execution is barely the major factor in here, the narration that circles around the core material before hitting the point, is way too overridden to be affordable. Ironically, a film with a concept that thrives upon survival instinct and the thrills of the chase, is frankly too dull and slow to makes you sweat. Let alone bedazzle you, it even fails to grasp your attention, the more the makers try to tighten the grip, the more the sand slips out. On its advantage, the structure is independent of any aspect of commercialism which gives it enough freedom to be fresh and raw. Neither the uncertainty of the antagonist and the threat nor the gore vision of the makers scares you and the primary reason to that is there is very little we care about them, the writers just aren't convincing enough to make us fall in their fairy tale. And with a solution in his pockets in storyline, Fresnadillo never succeeds on bringing alive those words. Renner and Byrne feels the least of the protagonist themed character which is the ultimate trick that works. But on the other hand, Poots and Muggleton that ought to be the flip or turn of this magic too are left out to rot the viewers. The characters are so undercooked that even the innocence of the kid fails to fabricate the emotion with a bit of poignancy. 28 Weeks Later will definitely take more than weeks to pass by.

I know this is not the most popular opinion among the public, but I believe that "28 Weeks Later" is even better than the first film. It's more intense, it has more interesting plot, it has a more great setting and it's just much more terrifying. Is it has more stupidity in it too? Yeah. But the atmosphere and the ending is much stronger than in the original. I know that "28 Days Later" was a breakthrough for the genre of zombie movies, to some extent, but "28 Weeks Later", in my opinion, did everything the same, but did it better.

Preserves the overwhelming and vertiginous atmosphere of previous directed by Danny Boyle, with a higher dose of gore and adding claustrophobia. John Murphy score does enough of acelerate the pulse, and the epilogue is schivering. (28 months later?)

This is a good sequel but it's not as good as the original, their is a lot more characters that the plot has to focus on so it feels more chaotic and not as fleshed out as the original but it's still a good zombie flick.

This was a very good sequel to a fine zombie work (my favourite zombie film is STILL Jean Rollin's remarkable and extremely aesthetically-pleasing 'The **** of Death'), and I was very pleasantly surprised. Pardon the pun, but you would think that by this time, everything in the land of zombie movies would have been done to death, but I remain consistently admiring of just where the best and most thought-out renditions of the template can go. In THIS case, the most intriguing dynamic is a cowardly husband choosing his life rather than helping his wife out of a horrible crisis, then infanticide (or worse) of his own children, rather than face their wrath over the poor decision he had made. It's interestingly hilarious that when you think about it, humanity is doomed because a 12-year-old had to go back and get a picture of his mother, because he was afraid that without it, he would forget what she looked like...A surprisingly satisfying work, that for horror fans, is worth a purchase and rewatching. I'm admittedly more for classic films, from the 20's to 60's, but for contemporary horror cinema, I liked this a lot, especially Jeremy Renner and Imogen Poots. It's no surprise to me that they soon became superstars.

Nothing satisfies the appetite for allegory quite like a movie about flesh-eating zombies. Somehow the genre, at least as practiced by its masters, has the capacity to illuminate some brute facts about the human condition and its contemporary dysfunctions. There are not many recent movies that match, for example, the social criticism undertaken by George Romero in his “Living Dead” cycle. Danny Boyle’s “28 Days Later” and its new sequel, “28 Weeks Later,” directed by Juan Carlos Fresnadillo, may not quite be in Mr. Romero’s league, but at their best they come close to his signature blend of grisly horror, emotional impact and biting satire. There is, of course, plenty of literal biting as well, since the virus-crazed creatures known as infecteds crave the flesh and blood of their erstwhile fellow citizens. And also their metaphorical flesh and blood. The first movie, set in the early days of a pandemic that nearly wiped out the population of Britain, followed a small band of strangers who came together to form a makeshift tribe. This time, after the first wave of the virus seems to have run its course, the focus is on families and comrades split apart and set against one another by paranoia, moral confusion and the endless conflict between the survival instinct and the call of duty. If “28 Days Later” was, in part, about the emergence of solidarity in the midst of crisis, “28 Weeks Later” is about the breakdown that occurs in what seems to be the aftermath. The DVD of Mr. Boyle’s film has two alternate endings, one slightly more comforting than the other. The hopeful conclusion (the one originally released in American theaters) turns out to be a slender thread leading to Mr. Fresnadillo’s more hectic and somewhat grimmer sequel. The story (written by Rowan Joffe, Mr. Fresnadillo, E. L. Lavigne and Jesus Olmo, with Mr. Boyle and his frequent collaborator, Alex Garland, on hand as executive producers) begins with a terrible failure of nerve. Fleeing a zombie attack, Don (a gaunt, appropriately anxious Robert Carlyle) abandons his wife, Alice (Catherine McCormack), to a gruesome and apparently inevitable fate. A few months later, he is safe in the Green Zone, an island of security in London overseen by occupying American troops led by General Stone (Idris Elba). There, he is reunited with his children, Andy (Mackintosh Muggleton) and Tammy (Imogen Poots), who had been on a school trip to Spain during the initial outbreak. He lies to them about their mother’s fate, and his dishonesty is punished in due course. That bit about American soldiers patrolling the Green Zone — see what I mean about allegory? — may make “28 Weeks Later” sound heavy-handedly topical. But as in any good science fiction fable, the analogies it offers to contemporary reality are speculative rather than obvious. The initial benevolence of the occupation is clear enough: a **** country needs to be put back together, its remaining population protected and reassured. It is only when things spin out of control that the inherent brutality of the situation becomes clear, but here again the movie poses intractable conundrums rather than scoring easy points. To the soldiers and the survivors alike, there are only bad choices, and doing what seems like the right thing — firebombing an open city or rescuing children from the bombs — can turn out to have horrendous consequences. Mr. Fresnadillo’s first movie, the Spanish-language thriller “Intacto,” showed him to be a filmmaker with technical agility and a decidedly philosophical bent. Here the thinking is done on the run, as the collapse of order unfolds through scenes of panic and chaos. These are often too frenetically edited and murkily lighted to be truly scary, and the higher dose of gore — infecteds chopped up by helicopter blades; bodies exploding in blood as bullets fly into them — is not enough to increase the horror. The real terror comes at quieter moments, when aerial shots survey the echoing emptiness of London, or when Tammy and Andy sneak out of the Green Zone into the surrounding desolation. “28 Weeks Later” is not for the faint of heart or the weak of stomach. It is brutal and almost exhaustingly terrifying, as any respectable zombie movie should be. It is also bracingly smart, both in its ideas and in its techniques. The last shot brought a burst of laughter at the screening I attended, a reaction that seemed to me both an acknowledgment of Mr. Fresnadillo’s wit and a defense against his merciless rigor.

28 Days Later was a traditional British science-fiction/horror movie with added smarts and innovative style. This sequel extends the story in intelligent, suspenseful ways. Simply because it’s a ‘part two’, it isn’t as fresh, but enough changes are rung to stop it feeling like a remake. Like Aliens, it ups the action scale by bringing in Yanks with big guns, which — as George Romero has often shown — means even more peril for ordinary folks caught between plague and the authorities. With Danny Boyle and Alex Garland otherwise occupied by Sunshine, a new creative team takes over. Spanish director Juan Carlos Fresnadillo, of the outstanding and unusual Intacto, evokes what Boyle did on the first film without slavishly copying him. The prologue, which takes place early in the crisis, offers an old-fashioned zombie attack as hands crash through the boarded-up windows of a besieged house. It also serves to introduce an unusual protagonist, the weasely Don (Robert Carlyle) — who puts his survival ahead of all else. After its first burst, the film hops ahead to the aftermath and takes a few creepy reels before the action starts again — but once the Raging and blood-spitting begins it’s relentless, as panic spreads and inept attempts to eradicate the plague give a whittled-down band of survivors as many problems as the screaming infected. The fractured British family are an interesting focus for the film: child actors Imogen Poots and Mackintosh Muggleton are terrific, while Carlyle and McCormack get the maximum impact from shifty looks, malign glares and freak-outs. The American contingent — scientist Rose Byrne, grunts Jeremy Renner and Harold Perrineau — offers thinner material, especially once everyone has to start running. The set-pieces, however, escalate with mostly excellent results: watching it all go wrong for the military — and their desperate response — is harrowing, but the tonal shift in a scene involving a helicopter and the infected on a heath which strays into Peter Jackson/Sam Raimi comic-horror territory is less effective. Momentum is regained, though, for a strong, dark finish. Bigger action, more amazing deserted (and devastated) London sequences and biting contemporary relevance, if a touch less heart than the original.

Extremely poor American follow-up to a classic British horror movie; proving that more is not necessarily better. Horrible performance by Robert Carlyle makes you reevaluate his acting in "Trainspotting"

[SPOILER ALERT: This review contains spoilers.]

One of the worst zombie films I've ever seen. 28 days was incomparably far better than this although it also doesn't make much sense itself. Whoever wrote the script should rethink about going further on their career. Not only there are way too many plot holes, but also shows laziness. For the plot holes, considering the story, the area clearly should've had highest security protocol with well-developed emergency plans in case of a breakout. However, two kids who obviously do not have any military training could sneak out of the area easily. Furthermore, there is no personnel guarding the room where Alice was held although there was a bite mark on her arm and she was still in the middle of health check process to confirm whether she is infected. In addition to that, Donald could swipe his card and enter Alice's room which is a quarantine zone and probably in the medical section where only medical and security personnel should have clearance (yeah, so much of a high security place). Even if all of these flaws could happen by any means, it just seems impossible for a single zombie to kill/infect several "armed soldiers" in a "bright" building where light is everywhere. With the against-all-odds method, the breakout did occur and the emergency procedures are deployed. Civilians were evacuated to a lock down area just to be broken in by a "single" zombie (yes, the door in a lock down area specified to be used for breakout scenario can be broken by just one zombie.) For the laziness, the writer wanted Alice to survive all these months without sparing details on how it was possible as well as doesn't want to show the logic behind the fact that main characters can't be extracted when there are countless places in London where a helicopter can land.

Brilliant film, but does not fill the boots left by its revolutionary predecessor. I wish the film focused more on human drama and futility, as the first film did, as opposed to action. The human drama of the first film was partly what set it apart from the crowd. Despite this, the film is expertly shot and once again integrates a brilliant, eerie soundtrack.

This sequel of 28 days later is better in every way.More gore,better acting and better action **** story was kind of basic and predictable and some of the characters decisions were stupid but,overall,the movie is good.

Another week, another disappointing summer sequel. So it goes… In actuality, the screenplay for 28 Weeks Later isn't all that bad. Sure, it's repetitious and much of it has been regurgitated from 2003's 28 Days Later, but it contains some interesting elements and offers enough gore that horror fans might have been able to enjoy it… if, that is, it wasn't for the stylistic approach employed by director Juan Carlos Fresnadillo. Apparently, Fresnadillo believes that the proper way to film any action scene is to shake the camera violently and pan it wildly back and forth, thereby making it virtually impossible to figure out what's going on (and pushing viewers with motion sickness to the brink of voiding their stomachs). As if that wasn't bad enough, in the editing room, Fresnadillo ensured that no single shot lasted longer than about a second. Also, the climactic struggle takes place in darkness, making it that much more difficult to decode the action. I didn't realize a character had died until, a little later, it was apparent that person was no longer around. I wish this problem was restricted to 28 Weeks Later. Unfortunately, it has become increasingly more common. It's a good way to cover mistakes and encourages laziness. What does it matter if a fight is well choreographed if the audience can't get a clear picture? (My complaint for the recently released The Condemned was similar.) In 28 Weeks Later, it's a source of frustration because I was interested in what was happening but the filmmaker's approach robbed me of the ability to appreciate any scene where there was a fight, chase, or other form of action. The first and better half of the movie is primarily devoted to setup and character development. This is where we are given a chance to get to know the new protagonists and given insight into the plan to return London to a living, breathing city from the ghost town it has been for the past half-year. As the movie approaches the one-hour mark, however, it turns into an extended chase, with people shooting, screaming, and being torn apart by the infected as they run around in dark corridors and tunnels and the viewer desperately tries to piece together what's going on. Admittedly, there are limitations to what can be done in a zombie movie, but a whiff of originality or coherence would have been appreciated. (I have a sense that the movie might play better on a television than a big screen.) Action scenes aside, the look of the film is faithful to that of its predecessor. London appears grimy and washed-out: a dead, decaying city that at times would seem to be a comfortable fit into the world developed by Alfonso Cuaron in The Children of Men. The overhead and long-distance shots of empty streets and abandoned buildings are creepy, but no more so here than in 28 Days Later. This film will not be used by British travel agencies to promote vacations to London. 28 Days Later, while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting. The kids are generic and the script doesn't care much about the adults. Robert Carlyle, Catherine McCormack, and Rose Byrne are criminally underused. Compare them to Cillian Murphy, Naomie Harris, and Brendan Gleeson from the first film, all of whom inhabited better developed and more sympathetic personalities. Tension in horror movies results from viewers caring about what happens to characters. The audience's connection to the protagonists of 28 Days Later made it a compelling experience. The lack of such a connection in 28 Weeks Later reduces this to a number of sequences characterized by shock moments, frenetic (and often chaotic) action, and stylized gore - all without suspense. It's too bad, because the fundamental idea of extending the storyline introduced in 28 Days Later is an intriguing one. The problem is that the people entrusted with the responsibility of bringing this to the screen made decisions that resulted in a deeply flawed product. My advice to Fresnadillo: next time you make a movie, allow viewers to see what's happening in real time rather than have to interpolate based on the results. Technique and style are more at fault than any other issue in undermining the effectiveness of this zombie thriller.

One of the greatest zombie movies ever made. I feel like 28 days later may have been slightly better, but the opening scene of this movie is easily the greatest moment in the two combined. If you like zombies you owe it to yourself to see this movie.

This movie isn't as good as the first one, but it has a great story line as the infection battle has claimed to be nearly won. Then you get some amazing twists and you get to see how different characters adapt to different situations. It's definitely worth watching, but you must watch the first one in order to enjoy the second one as much as I did. It's also kind of sad at some parts, but I won't spoil it for you.