When director Danny Boyle (Slumdog Millionaire, 127 Hours) and screenwriter Alex Garland (Ex Machina, Civil War) teamed up for the 2002 film 28 Days Later, little did we know what a cultural phenomenon this under-the-radar, “Zombie if they were infected with Rabies” story filmed on an $8 million budget would become. Nor did we know just how well Boyle and Garland would complement each other, as director and screenwriter, respectively. Having become a timeless film that ignited a quarter century of zombie fiction movies, television shows, books, and video games, 28 Days Later modernized this horror sub-genre with its “what if the infected zombies moved at warped speed rather than at a snail’s pace” question.
Category Archives: Mystery
28 Weeks Later (2007)
28 Weeks Later, the sequel to the box office success and critically acclaimed 28 Days Later (2002), directed by Juan Carlos Fresnadillo (Intruders), seemed like it was destined for failure before it even began. With the relative newcomer replacing the seasoned Danny Boyle in the director’s chair and without the help of screenwriter Alex Garland, 28 Weeks Later could have easily been looked at as a cash grab, looking to earn a quick buck off of name association alone, while coming at the expense of a lesser story or one that was poorly executed. However, that was far from the case. While not as crisp or innovative as the original, 28 Weeks Later quickly established itself within the franchise, while also becoming a standalone film in its own right. Continue reading 28 Weeks Later (2007)
28 Days Later (2002)
The moviegoer is in for a treat each time when either Danny Boyle or Alex Garland is involved in a project. Whether it be Boyle with a timeless filmography of directing credits that include Sunshine, Trainspotting, Slumdog Millionaire, and 127 Hours, or Garland’s vision with outside-the-box, ahead-of-his-time instant classics, such as Annihilation, Ex Machina, or Civil War, you can be confident you will be thinking of the film long after its view. 28 Days Later was the first time the two teamed up (Boyle as director, Garland as screenwriter). They struck a perfect accord of a tense, suspenseful, and foreboding film, painting a grim picture of what humanity could look like under the direst of circumstances.
Babygirl (2024)
One of the most divisive films of 2024 was Halina Reijn’s (Instinct) Babygirl. Much of this may be due to the film being Reijn’s follow-up to the highly successful Bodies, Bodies, Bodies, while of this may be due to the film’s taboo topic of a workplace affair between a superior and subordinate, revolving around domineering and submissive sex. Some filmgoers likely lined up on opening night to see this much-talked-about movie since its 2024 Venice International Film Festival screening. For many others, this would be a film they could never watch. While I am willing to give most films a fair chance (10-15 minutes at least), Babygirl is not one that I would have felt comfortable watching with someone else. It’s a film that takes a far too taboo subject for most social settings and groups to converse about and gives it a home. However, as well as the film felt genuine and honest, Babygirl did not venture into lanes we may have wished for. Presumably, what we thought would occur did exactly that. While it did those things well, many may be disappointed it didn’t try to go for something more profound. I lay somewhere in between.
Sommersby (1993)
My first viewing of Jon Amiel’s (Entrapment, Copycat) Sommersby was when I was 17. I liked the story, was intrigued by the slow unraveling mystery, and ate up the sentimentality created by Richard Gere (Pretty Woman, The Mothman Prophecies) and Jodie Foster (Panic Room, The Silence of the Lambs). Had I reviewed the film in 1993, I likely would have given it an A-. As I watched the movie most recently, some 30 years later, I was impressed by how well it once again grabbed and held my interest. Much of that was trying to spot each clue that connected the start and end, which rewatches allow. However, as simple as the story was, I fell victim to Jack Summerset’s (Gere) six-year return to Laurel (Foster) following the U.S. Civil War.