LIVE FRIGHTS: SECRET CINEMA PRESENTS 28 DAYS LATER

I've taken to attending plenty of interactive scre experiences this last couple of years (expect a Goosebumps Alive! review very soon). They vary in scale, with some pretty small and intimate and others, well, let's just say they get VERY big. THIS is one of those events. 

I am a fan of the Secret Cinema experience, having previously visited SC’s tent pole Back to the Future and Star Wars events. So when I heard the group were turning their collective hand to horror, I knew I needed to get onboard.

SECRET CINEMA PRESENTS 28 DAYS LATER (April 2016)

Location: Secret London Location

Tickets: £64.50

The secret location of this latest Secret Cinema production, Danny Boyle’s seminal Brit zombie flick (I know they’re not undead, but come on...) near Canada Water Tube station will be familiar to those of you who attended last year’s Empire Strikes Back, and it fitted the film perfectly.

As is often the case with SC events, after registering to attend, we were given plenty of online updates, from health alerts on the spread of the Rage virus and vaccination programme from the NSH (not to be confused with any real life National Services that handle Health issues, oh no) and live reports from the BBCC (also not to be confused with any real broadcasting companies located in Britain…).

These videos are wonderfully done and really do set the mood, while incorporating some nice in-jokes.

As was also the case with previous SC productions, we were given a costume and list of props to bring along with us. These included a set of surgical scrubs, a blood sample, and anti-viral mask among others.

Cynically, Secret Cinema sells a pack that contains these items, but you needn’t buy direct from them and a quick trawl of the usual online outlets yielded more affordable alternatives.

So, dressed in the appropriate attire, our group headed to ‘St. Thomas’ Centre for Disease Control’ for our vaccination appointment. Upon arrival we were greeted by armed military personnel who checked our papers (while remaining in character throughout), then ushered us into the centre. Inside we were immediately blown away by the scale of the production, with a large triage unit set-up in which we were debriefed.

After a chat with a very talented actor portraying the chief doctor of the ward, we were given time to use the toilet and imbibe a couple of ‘vitamin supplements’ (pretty tasty cocktails served in specimen bottles!). In time we were called through the plastic tunnel and into the quarantine zone for the experience to truly begin.

What followed was the most enjoyable segment of the evening and while I don’t want to ruin the surprise, I will say that it was every bit as imaginative as previous SC events, and surprisingly intense. With little time to breathe we were quickly guided through a handful of locations and scenarios that will be very familiar to fans of Boyle’s film. The cast here were excellent, the attention to detail VERY impressive and the intensity far beyond that of my previous Secret Cinema experiences.

However, a word of warning. We were told in advance that we would need to be prepared to run but I’d no idea exactly how much running would be required. What’s more, there were plenty of stairs to tackle as well, so less mobile attendees or those with physical conditions that could be exacerbated by exertion may struggle.

Finally we made our way to a new section (complete with a new cast of equally impressive actors), which, unfortunately, was something of a mixed bag. Our group was split in two and sadly, it seemed the other group had a far better time than us. The problem seemed to be a comparatively small area and cast and probably a few too many attendees, so the fun interaction with the actors was a little harder than in previous productions.

What followed was a lot of listlessly wandering around as we attempted to find fun missions to take part in — many of which fizzled out because the actors were too busy. Instead I had a couple of beers, used the facilities and unwittingly set in motion a massive part of the finale of the experience. Once again, I’d prefer to avoid spoilers, but I’m sure lots of you are familiar with the film and are well aware of what occurs during the climax. Let’s just say I wandered in front and centre!

The climax built into something I never saw coming, despite plenty of clues, and it was very well executed. Unfortunately, it did have the side-effect of reminding me precisely how old I have become (****SPOILERS**** I remember dancing to the Prodigy in dusty old warehouses the first time round, which feels a lifetime ago now!****SPOILERS END****)

Finally we moved into the screening itself, which really was brilliantly and imaginatively staged, with all the usual Secret Cinema touches of bringing key scenes to life live as they unfolded onscreen.

It would have been nice to have a few more of these, but for the most part they were excellently executed, and each time the Rage infected actors were onhand they were genuinely terrifying to behold.

I needn’t say much about the film, I’m sure most of you have already seen it, but if you haven’t, THIS really is the best way to experience Boyle’s post-apocalyptic vision.

So is the experience a success?

It is, but with some caveats.

First, let’s address the price. Over £70 (when you’re also including the various props and costume essentials) is a lot of money, and it’s a sum I feel is a tad excessive. What’s more the food and drink is also very expensive, so it’s a real wallet-buster of a night out.

The props were also, by and large, entirely unnecessary. Sure the scrubs served as a handy protector for any, erm, ‘staining’ that might occur as the event unfolds (you’ll have to wait and see!), but I found NO use whatsoever for any of my other items. My advice is to just don the scrubs and facemask and forget the rest.

The production itself is quite fantastic, the cast are brilliant, the setting breathtaking, the imagination on display truly awesome. If it weren’t for that mid-experience lull I’d say it was an unreserved success. However, this segment was a little cramped, didn't afford enough interaction with the staff and seemed to exist purely to sell food/drink to the masses.

As interactive entertainment experiences become big business I understand that it will become necessary to charge more and creates ample opportunity to make money. Unfortunately, this is the first time I’ve felt that the organisers have been using it as a (albeit very entertaining) cash cow.

This admittedly large con aside, Secret Cinema presents 28 Days Later is still a great experience and did more than enough to warrant a positive review. Should the group return to horror in the future, I’ll be there in a heartbeat.

You can buy tickets for the event here. Check out the official Facebook page here too.

If you haven’t already, do please check out and Like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House @HickeysHorrors

Until next time, I hope you enjoyed your stay.

MUSIC OF THE MACABRE (PART 2): IN THE HOUSE – IN A HEARTBEAT

MUSIC OF THE MACABRE (PART 2): 
IN THE HOUSE – IN A HEARTBEAT

28 DAYS LATER (2002)

ARTIST: John Murphy

If you’ve seen 28 Days Later or it’s sequel, 28 Weeks Later, you will know this piece of music.

A genuinely impressive piece of horror scoring, it has since gone on to be used multiple times in other films, tv programmes, adverts and even computer games, including: the superhero films Kick-Ass (during the badass scene in which Big Daddy takes down an entire warehouse full of mafia thugs) and Kick-Ass 2; BBC TV’s Top Gear, The Apprentice (yes, really) and Richard Hammond’s Journey To…, the anime Highschool of the Dead, the Xbox live arcade game Dishwasher: Vampire Smile (WHAT.) and an advert for Strongbow cider (this is kind of apt as a night spent drinking cider does tend to cause the same symptoms as exposure to the rage virus).

Furthermore, it’s been covered by British death metal band The Rotted (on their marvelously stupidly titled album Get Dead Or Die Trying) AND used as the intro for Italian band Eldritch on their 2008 live album Livequake.

And that’s just what I could find on Wikipedia!

If that many people can find a use for it, surely somebody has done SOMETHING right.

THE SCENE: As this music is played over the climactic scene of the film, the following description will provide some pretty big spoilers for the film. If you haven’t seen it and don’t want to know what happens, spin on, good sir, and come back when you have. I’ll be waiting, don’t mind me.

If you have seen it or don’t give a monkey’s (rage infected or otherwise) about spoiling the end of the film, read on.

Having reached the supposed safe haven of Major Henry West’s (Christopher Ecclestone) military blockade in Manchester, the survivors discover all is not as it seems. West has decided to wait to see how long it will take for the Infected to starve to death, and for that purpose keeps Mailer, one of his troops who succumbed to the virus, chained to a post in the yard. He also thinks that while he rebuilds society, he needs to keep morale up among his troops — and what better way than by using Selena (Naomie Harris) and Hannah (Megan Burns) as sex slaves.

Ooooooooooooooooo-kayyyyyyyyyyyy…

Needless to say, our hero Jim (the then relatively unknown Cillian Murphy) doesn’t much like this idea, so the soldiers give him a bloody good hiding and drive him out to the woods to execute him and Farrell, one of the squad who also opposes West’s plan.

Needless to say, this doesn’t happen, as ending the film with one of our main characters dead in the mud and the other two looking at a lifetime of rape is probably a bit too bleak, even for a horror film.

Following Farrell’s death, Jim is able to escape his captives and dashes back to the stately home in which the soldiers are encamped. He lures West and one of the troops back to the blockade where he overcomes them, then promptly back to the mansion where he unchains the infected Mailer. Throughout this, the slowly building strains of In The House — In A Heartbeat commence.

As Mailer goes on a violent rampage against his former comrades and Jim desperately seeks out Serena and Hannah, the increasing tempo of the music reflects the building tension and violence on the screen. As the piece reaches its screeching crescendo, Jim finds Serena held captive by the extremely rapey and bastardly Corporal Mitchell. They fall into a bitter and savage scuffle, culminating in Mitchell’s death as Jim gruesomely gouges out the soldier’s eyes with his bare hands. Finally the victorious Jim turns to Serena who has now grabbed her machete and is gazing at a violent, animalistic blood-soaked man who may or may not be infected. Will she kill him to defend herself or has she come to care for Jim enough to endanger her own survival to give him the benefit of the doubt?

WATCH THE EYE-GOUGE HERE (YOU SICKO)

THE PIECE: Written and produced by John Murphy, the piece is a masterfully understated yet powerful example of building texture through steadily layering more instruments as it progresses. It also slowly increases the tempo, starting as an originally quite quaint and gentle strumming, folky number, with some suitably restrained piano, but adds genuinely menacing, heavily distorted guitar.

Upon reaching its truly knuckle-whitening crescendo, it breaks into some clean, soft guitar arpeggios while the listener/viewer hastily wipes the beads of sweat from their brows, catch their breath and possibly change their underpants.

Absolutely gripping.

LISTEN HERE

John Murphy is a film composer born in Liverpool. He’s a self-taught multi-instrumental musician who worked with a few acts in the 80s, including German singer Claudia Brücken and The Lotus Eaters.

He’s done pretty well for himself with his chosen career too, composing the scores for Guy Richie’s megasmash Lock, Stock and Two Smoking Barrels and Matthew Vaughn’s Kick-Ass (yep, that again!)

Danny Boyle must be quite the fan, he’s also worked with Murphy on Millions and Sunshine.

WHY IT WORKS: Well, basically because it is bloody well composed. As well as perfectly matching the increasing ferocity of the acts on screen by building in tempo, the sinister distortion of the heavy rock style guitar riff matches the distorted and terrifying faces of the Infected from the film itself.

The discomfort caused by repeating the same chords throughout while layering more and more extreme and harsher sounding instruments works on a truly visceral level.

As for those who wondered about the title? It describes the events of the film perfectly: the piece starts as Jim re-enters the manor house and ends at the fateful standoff between Jim and Selena, who previously had told him that if she were to ever suspect he had become infected by the rage virus she would kill him ‘In a heartbeat.’

This piece of music was such a hit it was used a jaw-dropping THREE times in 28 Weeks Later. If they ever get a Europe-based sequel, 28 Months Later, off the ground (or even a prequel set during the initial outbreak, 28 Hours Later anyone?) I think it’s a safe bet that In The House — In A Heartbeat will be back.

I hope they’ll be smart enough to do some cross-promotion and play it as Jeremy Clarkson drinks a pint of Strongbow after gouging out Nic Cage’s eyes.

EPIC.

So, any suggestions for future pieces of iconic horror music I can cover?

Let me know!

If you haven’t already, do please check out and like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House@HickeysHorrors

Until next time, I hope you enjoyed your stay.