With the advent of the coronavirus, viewers suddenly remembered that they had seen few sensible films about the infection. There are really few of them.The top 10 best pandemic movies you can stream right now
Three months ago, “Infection” was just a movie about an epidemic with a bunch of famous actors. He was recalled to give examples when the movie does unacceptable – in the first 15 minutes it kills the hero played by a big star.
Today, everyone is watching the epidemiological procedure of Stephen Soderberg. A film almost nine years ago about the global pandemic of a dangerous virus with a mortality rate of 25-30% – in the top ten popular films on iTunes and in trending on streaming platforms. Partly, because he is probably getting closest to the situation with the coronavirus. Soderberg’s mortality is terribly high, but this is the minimum that cinema can afford. But the main reason for success is that Infection has long and deservedly enjoyed the fame of a correct and scientific film. Even specialized specialists look at him with affection, which almost never happens in the case of such a movie.
“Infection” really does not allow itself the dramatic cliches characteristic of Hollywood. His drama is in the dryness of the narrative. It is not lazy to explain and show how the state machine works, trying to prevent the spread of the disease, correctly displays the work of scientists and clearly shows the social consequences of epidemics.
The Crazies (1973)
A terrible disaster came to the city, in its vicinity a plane crashed, on board of which there is a terrible virus that can destroy humanity. An unknown infection falls into the water, and the inhabitants of the city go crazy with a fever, and even begin to attack their friends. The military reacts instantly, locking the town in quarantine, and shooting back those who have already been infected by the virus.
Twelve Monkeys (1995)
The criminal and antisocial element with the appearance of Bruce Willis must leave from 2035 in 1996 and take a sample of a pure strain of the virus, which drove the remains of humanity into the dungeon several decades ago.
For the first time on the screen, shaved bald head Bruce Willis, the first Oscar nomination for Brad Pitt, one of the best examples of Terry Gilliam’s signature creative chaos and an unforgettable ending. Of course, you need to recall the source of inspiration for The Twelve Monkeys – a 1962 runway photo by Chris Marker. From there, Gilliam took the final twist, which largely determined the “Twelve Monkeys” not so much as an epidemic film, but as an existential paradox.
Like Runway, Gilliam’s film is clearly inspired by Hitchcock’s “Dizziness,” if we mean the story of manic attempts by the heroes to reproduce personal traumatic experiences. But in Marker’s film, and especially in Gilliam, this idea is wrapped around time travel, so his characters look more like passive victims than proactive characters.
28 Weeks Later (2007)
A man (Killian Murphy) emerges from a coma in an empty hospital, an empty city, and an empty England 28 days after Day 0, when a group of activists from the laboratory released a dangerous rabies-inducing virus. England, however, is not completely empty – many infected have not had time to die, and survivors are trying to remain people in conditions of social collapse or simply continue to survive.
The film by Danny Boyle in the script of Alex Garland cannot be called otherwise than a landmark. With Resident Evil released in the same year, “28 Days Later”, he significantly changed the rules of the game in the zombie genre. These two films popularized the concept of “fast zombies,” which now, for the sake of the dynamism of the films, did not just slowly follow the characters, but rather playfully run around. In 2004, Zach Snyder extended it to the real living dead in the remake of “Dawn of the Dead”, which caused a wave of both enthusiasm and indignation from fans of the genre.
But since then, most of the films on the zombie apocalypse theme have almost everywhere developed the idea of virus infection rather than the former living dead. A direct continuation of “28 days later” can be considered not only the recent Korean genre sensation “Train to Busan”, but also the completely mainstream “World War Z”.
The characteristic given in the dialogue of the fictitious Motaba virus, which is more deadly than the causative agents of Ebola and Lassa fevers, not only explains the creators’ intentions, but also largely reveals the reasons for the resonance caused by the film at the time of the premiere. The producers of Epidemic, including Wolfgang Petersen, were not the only ones who tried to respond to the spite of the day, however, similar projects were either obviously inferior in scope 1, or … curtailed at the initial stage. So, Ridley Scott, who had to enlist the participation of the “stars” of Robert Redford and Jodie Foster, was unable to stage drama “hot zone” (the Hot Zone): Manual 20th Century Fox considered too similar to the plot twists and turns script Dvoreta Lawrence and Robert Roy Pool. However, this should not sound like a rebuke to filmmakers who have demonstrated an extraordinary talent.
The appeal to acutely relevant (in any case, to the media presented as such) issue was not a guarantee of success for the audience. Moreover, the fact that the picture, which cost $ 50 million in production, went better abroad than in the national film distribution (the ratio of $ 122 million box office to $ 67.8 million), testifies: the story was received with keen interest in different countries. No wonder! I cannot but give credit to the movie playwrights, who have been in suspense throughout the whole story, and especially from the moment Colonel Daniels and Major Salt have to act at their own peril and risk.
Chasing in the air, a miracle that did not happen in a collision, imitation of a fall in a forest, etc. – all this is no less impressive than the famous helicopter battle of John Rambowith Soviet aces in the sky of Vietnam. The apotheosis is the explosion of a super-powerful air bomb, which the pilots of the bomber, having heeded the arguments of the virologist, are dumped, fortunately, outside the village – above the reservoir. You follow the development of on-screen events without interruption – with the realization that hypothetically the occurrence of such a situation cannot be ruled out … At any time.
The Host (2006)
Everyday life has been peaceful, banal, without surprises. At the water’s edge, we appreciate a moment of relaxation with friends or family. And then, suddenly, the horror. Out of nowhere, monstrous, the creature sows terror.
- Genre: Action, Fantasy, Horror, Science Fiction
- Director: Bong Joon-ho
- Release year: 2006
- Casting: Song Kang-ho, Byun Hee-Bong, Park Hae-Il
In Seoul, while Park Gang-du, an immature salesman, works by the river in a small snack bar where he lives with his unique and adorable daughter Hyun-seo, as well as his father Hee-bong, his sister Nam-joo, a failed archery champion, and her brother Nam-il, a graduate in unemployment, the crowd attends a curious spectacle which is not long in triggering an incredible hysteria, panic: a monstrous creature, immense and unknown, emerging from the bottom of the river only trample and attack the poor innocent, destroying everything in its path. Gang-du tries to escape with his daughter, but he loses her in the heart of the frightened crowd and suddenly sees her being kidnapped by this monster who then leaves with her at the bottom of the river.
Fruit of voluntary negligence, the creature is the symbol of the weight of the Man on its environment, of its harmful effects, going until leading to its own destruction. The creature literally devours men, representing in a certain way the image of the danger that man represents for himself. In itself, the fate of the creature is not really the main concern of the footage or the viewer.
In a world infested with zombies, two men are trying to survive. Columbus, the youngest, is terrified of being devoured. She is a sissy, but her prudence could well save her life… Tallahassee is a zombie hunter who no longer fears anything or anyone. Armed with an assault rifle, he gives himself body and soul to the only mission that matters to him: finding the last copies of his favorite cookies, Twinkies, still available on Earth.
In their journey, the two survivors are joined by Wichita and Little Rock, two young girls. Everyone now has two impossible challenges: to face the zombies and learn to get along…
A terrible virus is atrocities on planet Earth, turning people into brainless and aggressive creatures. Dr. Loren, as part of a small group, was sent to the city center with the task of finding and saving uninfected survivors.
The end of the day (2016)
A terrible catastrophe turned most of humanity into carnivorous aggressive creatures. The remaining people survive as best they can — some create communes and take care of each other, others attack lone travelers, rob and kill them, and still others methodically exterminate those who became former people. And those, and others, and still others can feel safe only until the daylight is over, because terrible monsters can’t tolerate sunlight. And God forbid you to go out at night, when the forces of evil reign supreme.
The “Master” Pong Joon Ho (Gwoemul, 2006)
Meet, this is the only film in history about a giant monster that got into the final top 10 of the famous cinema journal Cahiers du cinéma. In the year of release, it became the highest grossing local film in the history of Korean cinema. The seeming contradictions between the first two sentences are slightly smoothed by the information about the personality of the director of this film. This is the newly-made three-time Oscar-winner Pon Joon Ho , who directed one of the most original films in 2006 on one of the most non-original topics. Most films about giant monsters are of the same type and predictable: it appears, destroys something, eats someone, it is killed by a valiant army, whose generals are photographed against the background of a corpse.
The Korean film is the same mutation as its monster. This is a political satire, family cinema and environmental horror at the same time. It is especially noteworthy that the “Master” is a very witty commentary on social behavior in the face of epidemic threats. The monster in the film is allegedly a carrier of an unknown virus. Therefore, Seoul is in a panic, all in disguise, and the monster’s witnesses are in quarantine.
The DJ, who has embarked on a night shift at a radio station in the Canadian town of Pontipool in Ontario, is beginning to receive alarming news about the possible spread of the virus, turning people into senseless and aggressive zombies. The first symptom: the infected person begins to experience speech difficulties and repeat the same thing.
One of the most original films about epidemics and almost the only colloquial zombie film in the history of cinema. The horror of a very interesting and very uneven Canadian director Bruce MacDonald based on the novel by Tony Burgess does not just hide his really small budget behind dialogs and monologues. It is the English language in the film that is the carrier of the disease. This means that the radio station on which the film takes place is the epicenter of the spread of the “virus.”