The silence is eerie, hanging over the place as the intense music falls into a piano motif.Ģ8 Weeks Later's scope narrows from the plight and death of tens of thousands to the core team in the aftermath of the courtyard massacre, as Doyle meets up with Scarlet and the siblings, escorting them through the city toward Wembley Stadium, where a radio transmission claims evacuation for civilians is imminent. By the conclusion of what feels like an endless and gory shooting gallery, there are dozens of corpses laying in the courtyard, draped across the ineffective barricades and each other. Other troops become involved, firing heavy machine guns into the fray. Their actions are intercut with quick cuts to the carnage below them. Doyle's fellow soldiers don't hesitate, firing indiscriminately into the crowd, though he can't bring himself to join them. There are brief protests and moments of hesitation before the troops begin firing their weapons, intercut with brief shots of the crowd.
One of 28 Weeks Later's most important and horrifying moments involves Doyle and his fellow snipers being ordered to fire on a crowd of civilians in a courtyard below, some of them infected as the outbreak begins to spread further. Returning from the first movie, the harsh sounds of his compositions fit perfectly with the sharp reports of gunfire and the cries of the infected and survivors. This tension is reinforced by the film's score, composed by frequent Guy Ritchie collaborator John Murphy.
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These factors, as well as the human drama of the survivors bonding together, help keep the movie from becoming a more rote tale of survival in a familiar apocalyptic scenario. The tension is enhanced if one has seen the first film these viewers will know the power of the Rage Virus, the speed with which it takes effect and the absolute chaos that erupted from its initial spread. There are a handful of jumpscares in these earlier sequences, and the frantic editing of the action scenes helps the later moments feel more natural.
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