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Doctors race to find a cure and save the town, deus ex vaccinum. Selma Blair and Nicolas Cage star as the main dull, suburban, upper-middle-class couple who are suddenly seized by the single-minded obsession to murder their kids. Like the protagonist at the start of 28 days late night. It is telling that such power only features as a diseased and destructive force in our films. Yet these actions always take place in the shadow of a threatening horde. This Japanese movie is a little bit more outlandish with its deaths, with the infected liquifying into a green goop, but it's important to have a global perspective on outbreaks. After a scientist murders a teen girl and then himself, it is discovered that he's been doing experiments with deadly parasites that are now matriculating among the general population.

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Humanity is not disposable. Chris Pine, Piper Perabo, and Emily VanCamp star in this movie about a group of friends trying to outrun a pandemic who realize on their journey that the evils of man are just as threatening as any virus. Our slogans are not truly meant for them, for they cannot rescue us from the reality that they created. They emerge into the 20th century, but director Ward shoots our modern world from the eyes of medieval strangers. Over the course of the the three Maze Runner films, you'll meet your cast of young heroes trying to change the world, a massive shady conglomerate known as WCKD that seems to be at the center of everything bad that is happening, and you'll go into the global wasteland known as The Scorch. Like the protagonist at the start of 28 days later. Available on Tubi and Vudu. This idea is taken to an extreme in zombie films, where the crowd, by breaching protective boundaries, becomes the enemy. The ending is disappointing--an action shoot-out, with characters chasing one another through the headquarters of a rogue Army unit--but for most of the way, it's a great ride.

Like The Protagonist At The Start Of 28 Days Later

Caught up in a movie's narrative, we may identify with the central characters, but as we shuffle out of the darkness of the theater or watch the credits start to roll from our couch, we know that most of us belong to the crowd. "28 Days Later" is a tough, smart, ingenious movie that leads its characters into situations where everything depends on their (and our) understanding of human nature. In Mayhem, Steven Yeun plays a corporate drone who gets canned the same day an epidemic called the "Red Eye virus" starts ruining society by turning the people who contract it into violent, hungry savages. The crowd is never allowed to make an intervention as a protagonist; in most of these imagined futures, the crowd does not have a place. This Irish horror-drama takes place in the aftermath of the infection period when a disease called the Maze Virus, that basically turned people into rage zombies, has largely been cured. They have brains and can think, and they perform work that enables life and on which our world depends: caring for the elderly, stocking grocery store shelves, delivering packages, cleaning hospitals, driving busses, and more. Fast-forward to the 1990s: the virus is back, and people begin suffering hemorrhagic fevers in a sunny California town, overwhelming the hospital. If humanity lives, they owe it to the very experts responsible for the crisis in the first place. Wandering London, shouting (unwisely) for anyone else, he eventually encounters Selena (Naomie Harris) and Mark (Noah Huntley), who have avoided infection and explain the situation. After some discussion, the group decides to take the risk, and they use Frank's taxi to drive to Manchester. Like the protagonist at the start of 28 days laterale. This intimate contagion movie focuses almost entirely on one woman who is stranded in the Nevada desert right when a zombie infection starts to take hold. In Luchino Visconti's elegant adaptation of Thomas Mann's beloved novella, Dirk Bogarde plays a composer who visits the Italian city and promptly becomes infatuated with a teenage boy, all the while a cholera epidemic hits town.

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In the overwhelming and seemingly-uncontrollable tumult of events in these movies, the crowd should not expect to survive; there is only room in the future for a select few. Two hip sisters who survived both those calamities roam through a postapocalyptic Los Angeles in this delightfully stylized time capsule that's more John Hughes than George Romero. As the floodwaters rise, a crowd begs for passage, but those on board pull up the ladders. It's a noirish thriller, but it's also all about human behavior: Widmark's character struggles to deal with the citizenry, and a Greek immigrant couple who get the disease early on view the authorities with suspicion, and thus refuse to cooperate. For any hope of recovery, we cannot cede the public square, but rather we must reclaim it — courageously and with care for one another. When a doctor's mistake leads to dire consequences for a patient, a strange illness starts afflicting the medical staff who helped cover it up. The shouts of "Give me liberty or give me death! " This 1926 classic from filmmaker F. W. Murnau is one of the great early horror films. Our hero, Marc, has been trapped in an office building, but sets out to find his girlfriend, and has to do so without ever actually setting foot beyond shelter.

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If you just can't watch another depressing zombie wasteland movie, switch over to Simon Pegg and Nick Frost's Shaun of the Dead, where a couple of slobs find themselves in the middle of the end of the world. Alex Garland's screenplay develops characters who seem to have a reality apart from their role in the plot--whose personalities help decide what they do, and why. It's a zombie movie, but it's also a family movie. Well, you can watch something similar happen in The Puppet Masters.

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But disaster films — and neoliberal politics — sure act like it. Here Alone is another emo-zombie movie that's more about melancholy than it is the terrors of the blood thirsty undead. When he meets a pair of immune humans, he is given renewed hope that he can make a cure. Just as in our disaster movies, the politics of the last few decades has offered little room in the frame for the crowd. Though we shout, the powerful do not hear us.

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Eli Roth's first big foray into extreme gore follows a group of 20-somethings on a cabin-in-the-woods trip where everyone's plans for sexy time are interrupted by a flesh-eating disease. She has to wander into nothingness in the hopes of reaching safety, and along the way she is followed by one single shuffling zombie who becomes a sort of companion/reminder of her fragile mortality and the mistakes she has made in her life. Based on the book of the same name by Robert A. Heinlein, this time there is a government intervention to try and squash the infections, but will they be able to stop the extra terrestrials in time? The conclusion is pretty standard. Director Danny Boyle ("Train-spotting") shoots on video to give his film an immediate, documentary feel, and also no doubt to make it affordable; a more expensive film would have had more standard action heroes, and less time to develop the quirky characters.

Did you like watching Donald Sutherland in the middle of an Earth takeover by alien parasites that can control people's minds in Invasion of the Body Snatchers? Two years after a zombiepocalypse has all but wiped out civilization, only two outposts of humanity remain. The logic of human disposability is woven into much of the cinema of the last three decades, after the "end of history" and the global triumph of neoliberal capitalism — particularly in movies about zombies, plagues, and apocalypses. If you want a contagion movie that has that wild spirit of Mad Max, look to Kiah Roache-Turner's Wyrmwood. If you're a sucker for found footage, try this movie about a quaint little town that turns into a breeding ground for a waterborne organism that takes control of the minds and bodies of its hosts. The disease disaster movie on everyone's lips right now! Defeating COVID-19 also demands mass participation — in ongoing social distancing, and in escalating actions to win stronger economic relief, social insurance, and health care for all. While the zombies clearly have some significant intellectual limitations (for example, they struggle with both language and doorknobs), the horde has something that other disaster movies' dimwits and weaklings do not: collective power. The comet that killed the dinosaurs passes by Earth again and this time incinerates most of the human race, leaving those partly exposed to roam as extremely New Wave zombies. To capital, workers are only essential insofar as they serve to support the existence of the real protagonists and generate profits through their labor. This minor flirtation with collective action did not last: in 2018's Avengers: Infinity War, half of all existence is simply erased by a snap of Thanos' fingers. A group of New Yorkers help Spiderman symbolically defeat terrorism by tossing bricks, balls, and bats at the Green Goblin from the Queensboro bridge, proclaiming "If you mess with one of us, you mess with all of us! "