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28 Weeks Later boasts a fantastically intense opening sequence, and with it a promise of a relentlessly paced thriller. And director Juan Carlos Fresnadillo delivers exactly that. Outdoing the intensity (and certainly the gore) of its predecessor, the sequel retains much of the jumpy scares and all of the terrifying zombies, but focuses more on visceral action and horrifying violence, and brings a welcome unpredictability to its frenzied survival story. 28 Days Later you may fear those corrupted by chaos. 28 Weeks Later you will fear those infected by Rage.

Twenty-eight weeks after the initial Rage Virus outbreak finds London occupied by the American military and a heavy quarantine in place. Those that survived begin to rebuild their world in seclusion, and after several months of no sign of the virus and all those originally infected dead to starvation, hopeful tranquility appears to return. But such serenity was not meant to last, and when a father with a dark past is reunited with his children, tragic events unfold that rapidly lead to another outbreak of the Rage. Once again an epidemic of voracious zombies threatens London, and those trapped between the ruthless military and their drastic precautions will find little solace amongst the carnivorous abominations that roam the streets.

When 28 Days Later premiered, horror fans the world over praised it for its new breed of zombie with a familiar penchant for human flesh, but also a new, extremely aggressive and violent temperament. Combined with an enhanced agility and speed, Danny Boyle's unique twist on the undead fiend became far more terrifying than Romero's original design. While Days used his vicious creatures almost as a backdrop for the more diabolical workings of his corrupted military, Weeks takes full advantage of these cannibalistic crazies to produce some truly shocking horror scenes. The opening sequence perfectly outlines just how deadly the infected are as they overwhelm the small group of survivors and dispatch them in a quick and brutal fashion. From there each encounter becomes even more panic-inducing as Fresnadillo utilizes several ingenious tension-building devices, from the shaky handheld cameras to the foreboding music. One standout scene finds the protagonists in a pitch-black subway station with the only light source being a sniper rifle night-vision scope. In a wonderfully chaotic moment all hell breaks loose and we are witness to a riveting fight for survival where we feel as helpless

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