2000 in Film

28 DAYS: painfully earnest, addiction-tackling piffle (2000 in Film #15)

This year, 20 years on from the year 2000, I’m going to celebrate the first year of cinema in the 21st century by looking back at some of the films across the year at the turn of the millennium which took No #1 at the box office for their opening weekends.

This week, released on the weekend of April 14th, Betty Thomas’ 28 Days

All things being equal, I should be talking about American Psycho this week, Mary Harron’s satirical and disturbing adaptation of Bret Easton Ellis’ novel. Yet, no, here we are with Betty Thomas’ Sandra Bullock starring drama 28 Days.

American Psycho didn’t even come in second place at the box office this weekend. 28 Days took that spot, in the slipstream of Rules of Engagement, which itself struggled on week one thanks to Erin Brockovich. Harron’s film even ended up behind Keeping the Faith, the Ben Stiller/Jenna Elfman romantic comedy none of you probably remember as much as 28 Days, which as Bullock vehicles go is hardly her most high profile. Christian Bale’s turn as psycho killer Richard Bateman deserved better on initial release whereas 28 Days?

The honest truth is that there really isn’t all that much to say about a film like 28 Days, which is about as earnest as the day is long. It is purely designed to give Sandra Bullock, an actor coming out of the 90’s known primarily for romantic comedies and as the erstwhile female foil for Keanu Reeves in (the brilliant) Speed and Jason Patric in (the less that brilliant) Speed 2: Cruise Control, something meaty to chew on. She here must run the gamut from entitled, perky alcoholic through to recovering victim of excess who *cue trailer voiceover guy* learns lessons about herself and the people she loves by the end.

Yes, it’s yucky. Yes, it’s sentimental. Yes, it’s vacuous and yes, you will feel like 28 Days have gone by come the end of the 90 minute running time.

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