Sequel that tells more about the virus and how it progresses through the world. There is a bigger scope and several memorable gruesome deaths and a twist that surprises half way through, but I would have liked to at least have one scene explaining this film's connection with the first one's original characters.
Une profusion d'invraisemblances scénaristiques, sur une trame des plus ténues, prétexte à un déferlement de maintes scènes gore (plutôt réussies dans le genre) nous entraînant, incrédules et dubitatifs, dans une histoire banale, bancale et cinématographiquement tellement inutile et surfaite... www.cinefiches.com
To be honest, 28 WEEKS LATER isn't as great as the previous movie - 28 DAYS LATER. Although, it multiplied its thrills and suspenses. I feel 28 WEEKS LATER doesn't offer something new or fresh. It seems like a repetition from the first one. This movie also lacks of characterization. I almost didn't care about their fate or struggle. But, 28 WEEKS LATER is still worth to watch. It's still offered plenty of joy in here
Capably carries on the unique visual flair of the original and features a strong cast of familiar faces. Unfortunately, the plot is a series of implausible conveniences that become so unbelievable by the end that it devolves into unintentional comedy; the greatest offense a horror film can perpetrate.
Where Romero's films were all different in emotional tone (the scares of Night, the farce of Dawn, the bleakness of Day), each part of this series is rich in its blend of light emotions with darker ones. They aren't afraid to have its characters joke around in one scene, romance in the next, and then follow it with a setpiece that scares you shitless. Too many films have one emotion only, these run the gamut.
Two lowly human traits trigger the horrible chain of events in this sequel: cowardice and recklessness. That's in keeping with the philosophy of the first movie, in which non-infected people can be as monstrous - or even more so - than the ones who fell prey to the Rage virus. Unfortunately, Robert Carlyle's and Imogen Poots's characters are easy to hate, the presence of a helpless 12-year old dilutes the menace.
Terrifying, bleakly explicit. Stronger than the first one. Wasn't even comforted by the stark implausibility of some gaps in the depicted enforcement of quarantine (Carlyle can cheerfully card-swipe his way through to his extremely biohazardous wife, lying there exposed; the helicopter crosses over to France like it's nothing).