To appreciate 28 Days, it's best to be thankful that director Betty Thomas hasn't forced Sandra Bullock into a remake of Clean and Sober. Instead Thomas has balanced her comedic sensibility (evident in Dr. Dolittle and Private Parts) with the seriousness of alcoholism and substance abuse, and she succeeds without compromising the gravity of the subject matter. Some critics have scoffed at the movie's breezy, formulaic portrait of 27-year-old boozer and pill-popper Gwen Cummings (Bullock), but this smooth-running star vehicle does for Bullock what Erin Brockovich did for Julia Roberts, focusing her appeal in a substantial role without taxing the limits of her talent. It's no wonder that Susannah Grant (who wrote both films) was one of the hottest new screenwriters of 1999. She writes "Hollywood Lite" without insulting anyone's intelligence.

As played by Bullock, Gwen is an alcoholic in denial whose latest bender with boozer boyfriend Jasper (Dominic West) ruins the wedding of her sister (Elizabeth Perkins) and lands her in a month-long rehab program with the requisite gang of struggling drunks and junkies. Newcomer Alan Tudyk steals his scenes as a gay German rehabber who might've dropped in from a Berlin performance-art exhibit, and Steve Buscemi aptly conveys the weary commitment of a counsellor who's seen it all. Thomas has surrounded Bullock with a sharp ensemble, and the addition of singer-songwriter Loudon Wainwright III (as a kind of Greek chorus crooner) is sublimely inspired. Certainly no surprises here--the warring sisters will reconcile, and at least one rehabber will fail to recover--but there's ample pleasure to be found in Bullock's finely tuned performance, and in Thomas's inclusion of flashbacks and tangents that add depth and laughter in just the right dosage. --Jeff Shannon, Amazon.com

In 28 Days Later... anti-vivisection activists make a very bad judgment call and release a laboratory monkey infected with "rage". Twenty-eight days later bicycle messenger Cillian Murphy wakes up from a traffic accident coma in a deserted London hospital and ventures out to find the city deserted...

Anti-vivisection activists make a very bad judgment call and release an experimental monkey infected with "rage". 28 Days Later..., as the title has it, bicycle messenger Cillian Murphy wakes up from a post-traffic accident coma in a deserted London hospital, ventures out to find the city depopulated and the few remaining normal people doing everything to avoid the jittery, savage, zombie-like "infecteds" who attack on sight.

Our bewildered hero has to adjust to the loss of his family and the entire world, but hooks up with several others--including a tough black woman (Naomie Harris) and a likable London cabbie (Brendan Gleeson)--on a perilous trip northwards, to seek refuge at army officer Christopher Eccleston's fortified retreat. However, even if they survive the plague, the future of humanity is still in doubt.

Directed by Danny Boyle and scripted by novelist Alex Garland, this is a terrific SF/horror hybrid, evoking American and Italian zombie movies but also the very British end-of-the-world tradition of John Wyndham (Day of the Triffids) and Survivors. Shot on digital video, which gives the devastated cityscapes a closed-circuit-camera realism, this grips from the first, with its understandably extreme performances, its terrifyingly swift monster attacks and its underlying melancholy. Deliberately crude, 28 Days Later is also sometimes exceptionally subtle. --Kim Newman

New York-1950. A young man has just won the State Lottery, and is now all set to be the new millionaire. But, his Dad is running away from a mafia mob with whom he raised a huge debt.