What a load of rubbish! 
As Saturday is my cinema day, this Saturday was no difference. And today I decided to see 28 weeks later, the sequel to 28 days later. Ok, I am not a fan of horror movies at the best of times, but this one is really bad.
Plot: zero
Suspense: not existing
Gore: plenty
In order to make the film hold together it’s flimsy storyline relies on a number of rediculous premises.
Why anybody would want to live in a place that just a few weeks before has seen the outbreak of such a deadly disease like the Rage virus is beyond me and not explained anyway.
None of the new settlers seem to ask themselves the question: If it is save to live there, why the heavy military presence? (Again, who in their right mind would want to go back?)
Though the place is heavily fortified, our two heroes, children none the less, manage to sneak out quite easily, only seen by chance by a sniper.
Though we were told that the rest of London is full of rotting corpses and the vermin and stray dogs that come with it (after all, we are also told that the virus did not cross the species barrier), when running through London, neither then nor later in the movie, are any of what must be hundreds of thousands of pet dogs and cats to be seen, as are none of the millions of rats that already live in London’s canalisation.
A bit surprising if not disturbing is the apparent ease that American Army snipers switch from shooting Zombies to basically everyone. Or the emotionlessness of any American military personal when ordering or watching the firebombing and gassing of civilians. A slightly critical comment on American behaviour in Iraq?
But then, an American attack helicopter fails to hit a single car travelling through deserted London. Perhaps Iraq did not provide that much training on shooting up civilian targets after all. Maybe they should have asked the Israeli Defence Force to assist; they were a bit more successful in taking out cars of suspected Hamas activists.
From infection to outbreak (equalling death) the Rage virus takes less than a minute -as seen when Robert Carlisle kisses his infected carrier wife- a feat that the most potent nerve gases would find hard to achieve. However, when nerve-gas is deployed to wipe out all life in London, not only do our heroes find sanctuary in a car (so cars are build to be airtight?) but even when the gas fumes are seen in the car, breathing through your jumper provides enough protection.
Though the American soldiers have been deployed themselves only a few weeks before, they show a remarkable sense of orientation when running and driving though London, proven by the seemingly random drive to keep avoiding the encroaching gas clouds and the following attack helicopter, but ending up in exactly the right Metro station at which nearby end of the tube tunnel is not only light and air but also safety in form of the helicopter they meant to reach to fly them out of danger.
But the best (or the most ridiculous) premise is the fact that an infected en-raged zombie Robert Carlisle, rampaging through a deserted, firebombed, burning, gassed London, ends up at the exact same tube tunnel section at the exact time to meet up with our escapees which, as we are aware, are also his children: talk about blood being thicker than water.
The tragic irony that the sacrifices of the American soldiers to save the boy who might have an genetic immunity against the virus and whose blood could be used to create an antidote become the very opportunity for the virus to spread to the continent and the world appears to be a late add-on rather than an angle that could have been given the movie slightly more depth if having been teased out a bit earlier.
The only redeeming feature of the film is the music: “Shrinking Universe” by Muse, it’s crescendo adds the only bit of atmosphere to the film. 
So, if you want to see what havoc rotating helicopter blades wreak on human bodies, go and have a look, otherwise save the money and do something different like going to the pub instead.
