Like Night of the Living Dead, 28 Days Later uses the idea of these living dead to explore the collapse of society. Boyle’s infected are overcome with rage, they run, transmit their virus through the exchange of fluid, and don’t require a headshot to be taken down. Though he has made note of his influence from Romero’s Dead trilogy, he cites the post-apocalyptic novel The Day of the Triffids as Garland’s inspiration for Jim’s (Cillian Murphy) journey through a society that has been deserted. Interestingly enough, and again going back to the roots of Romero’s innovation, Danny Boyle does not consider 28 Days Later a zombie movie.
Wes Craven’s The Serpent and the Rainbow (1988) was the only significant film to return zombies to their Haitian roots, but as far as the general public was concerned, these undead creatures with stiff walks, a hunger for brains, and a bite that allowed them to procreate were and would forever be zombies.
Lucio Fulci’s Zombi 2 (1979), Tom Eberhardt’s Night of the Comet (1984) and Stuart Gordon’s Re-Animator (1985) are only a few of the films that helped expand the reach and popularity of zombies, not only in America, but worldwide, particularly in Italy. Dan O’Bannon’s The Return of the Living Dead further cemented the appeal of zombies by making them creatures who desired to eat brains. Rather than borrowing from the voodoo elements seen in White Zombie (1932) or I Walked With a Zombie (1943), most of the zombie movies that followed in the ’70s and ’80s borrowed from the rules Romero established in his trilogy Night of the Living Dead, Dawn of the Dead (1978) and Day of the Dead (1985).
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