As a result, Harris plays a guarded character very well. It’s strongly alluded to that she’s both been betrayed and lost people she loved to the virus. While it is rather obviously signposted that she is going to be Jim’s love interest, that doesn’t mean that she’s an uninteresting, two-dimensional character. Speaking of caring, that brings us to Naomie Harris’ Selena.
So by the time Jim does partake in some frenzied action, we’re connected to him enough to care. Rather than feeling ponderous or even pretentious, the slower pace helps the core acting because it’s given the time to breathe and develop. While that feels like quite the range for a single film, it’s surprisingly organic as we see him flourish as part of his little group (or family, if you prefer). He portrays trauma, the fledgling spark of hope in a man beginning to come to terms with the world as it now is and then furious rage as he sees that hope threatened. Murphy is outstanding throughout the film. This particular scene became instantly iconic and is still remembered for its striking imagery even now. Even if you’ve never seen the film before, there’s a decent chance that you’ve seen a clip or image of him wandering around a deserted London. As a result, he works as a perfect proxy for the audience and the unsettling nature of the various scenes of pure desolation he is greeted with. As mentioned above, Jim awakens from a coma 28 days after a virus began tearing its way through the country. And finding hope is a key theme throughout.īut if we’re talking about people needing to find hope, I have to commend the performance of Cillian Murphy as Jim. It’s harrowing and riveting to watch average British people trying to find a reason to live, to hope again. We watch people simply surviving and quietly mourning what they have lost. This isn’t about chaos for the vast majority of the running time. Instead, there’s a looming melancholy to everything, a sadness. And this world isn’t the stereotypical hellscape that you’d expect in a narrative where society has crumbled. Instead, it takes its time to introduce the world and the various main characters that inhabit it. While it’s true that we get a relatively brief prologue that’s rather intense to kick things off, I think what makes 28 Days stand out from the zombie fare from the past (or even much of what came after it) is that it feels no pressure to push the story along from A to B to C. So how did a small budget, British film distributed by Fox’s “indie” label serve as a forebearer for a pop cultural zeitgeist? By being different. And yet, it did so much to revitalise and resurrect (hehe) a genre it was trying to avoid that the credit is undoubtedly deserved. The irony of this, is that by all the usual metrics, it isn’t a zombie picture. When pinpointing the spark that lit the metaphorical fuse, many point to 28 Days Later for beginning the trend. It may be hard to remember now but there was a time back at the turn of the millennium before zombies had returned to (and then oversaturated) popular culture. With no signs of a functioning society and the infected horde serving as a permanent looming threat, the makeshift group set their sights on the closest thing they have to a beacon of hope – a looped message promising sanctuary at a military compound… This includes Selena (Naomie Harris) and father and daughter Frank (Brendan Gleeson) and Hannah (Megan Burns). As he wanders, trying to come to terms with what has happened, he encounters other survivors. In this classic apocalyptic horror, Jim (Cillian Murphy) awakens in hospital to find London seemingly deserted following a rapid viral outbreak.
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