Tonight, I watched 28 Weeks Later. On DVD as always, naturally with less chatter and more toilet breaks than the cinema can provide. Not enjoying the first film in the series perhaps as much as majority opinion suggested I should, I went into the viewing of it's sequel with some anxiety, though all the same, excitement.

Taking place (as the title suggests) 28 Weeks Later from the events of the first film, the setting is once again a disrupted and socially torn London, where after the extinction of the zombies we all knew and loved in the first film, the city is rebuilding both population and indeed society. With a different producer, director and writer, the film also features an entirely new cast and roster of characters, which, while a little alienating in concept, is a refreshing change that helps add to the notion that this isn't a direct run-of-the-mill sequel, and perhaps, one of the few sequels in cinematic history which not only lives up to it's predecessor, but eclipses it completely. But beyond the new cast and creative forces, this film is also radically different in several areas.

Firstly, 28 Weeks Later is a lot more character driven than it's predecessor, with a lot more time spent at the beginning of the film to allow for exposition and analysis, merged at some points with a reminder of the first film through dialogue. Interestingly however, at several points throughout the film, it's established there is no obvious protagonist within the film. On the surface, this story is one about a family with the latter half of the film dedicated to the children, while the first about their parents. Going deeper however there are times where it feels like there is no main character, and that this is not one individual's story, but rather, a collective societal effort, helped in parts largely due to the involvement of the NATO forces and the scenes that take place within their command centre.

Elsewhere, and interestingly, the film is a lot more dark than I expected. That's not to say physically or merely by content, but certain scenes and themes within 28 Weeks Later are noticable as being devoid of ethics, including, the most horrific scene in the film- five minutes and beyond of terror that is simply US forces mowing down London citizens who are, known to the command, unaffected. Taking it's lead from the original title, the aerial views of both the city and surrounding countryside are once again used to devastating effect, where it's implied and reinforced over and over, that there is no hope, signaled frequently by vast empty city streets, and finalised as a notion by the ending itself, while still leaving the series open for further exploration.

As a zombie film, 28 Weeks Later is surprisingly optimistic to break free from both convention and cliché, adding unexpected depth and characterisation in the process through the use of a family as the central plot. Again, the film surprises by being more than just a zombie flick, ultimately more concerned about the thoughts and feelings of these characters presented, as well as a commentary on both humanity and society in general. With the events of the first film pretty much established within minutes, 28 Weeks Later is free from past characters and memorable scenes, allowing for the creation of new ones, and a film sequel that goes far beyond that of the original title.