28 Days (2000)

User Rating:

5.8/10   

Director:

Betty Thomas

Writer (WGA):

Susannah Grant (written by)

Release Date:

14 April 2000 (USA)

Genre:

Drama

Tagline:

The Life of the Party... before she got a life.

Plot:

A big-city newspaper columnist is forced to enter a drug and alcohol rehab center after ruining her sister's wedding and crashing a stolen limousine.

Plot Keywords:

Wedding | Car Accident | Drug Addiction | Intoxication | Alcoholic Mother

Cast

Sandra Bullock	...	Gwen Cummings
Viggo Mortensen	...	Eddie Boone
Dominic West	...	Jasper
Elizabeth Perkins	...	Lily Cummings
Azura Skye	...	Andrea
Steve Buscemi	...	Cornell Shaw
Alan Tudyk	...	Gerhardt
Mike O'Malley	...	Oliver (as Michael O'Malley)
Marianne Jean-Baptiste	...	Roshanda
Reni Santoni	...	Daniel
Diane Ladd	...	Bobbie Jean
Margo Martindale	...	Betty
Susan Krebs	...	Evelyn
Loudon Wainwright III	...	Guitar Guy
Katie Scharf	...	Young Gwen

Also Known As:

28 días (Argentina) (Peru) (Spain) (Venezuela) [es]
28 Tage (Austria) (Germany) [de]
28 Dias (Brazil) [pt]
28 dagar (Sweden) [sv]
28 dage (Denmark) [da]
28 dager (Norway) [no]
28 dana (Serbia) [sr]
28 dní (Czech Republic) [cs]
28 dní (Slovakia) [sk]
28 gün (Turkey: Turkish title) [tr]
28 giorni (Italy) [it]
28 imeres (Greece) [el]
28 jours (Canada: French title) [fr]
28 jours en sursis (France) [fr]
28 päivää (Finland) [fi]

MPAA:

Rated PG-13 for mature thematic elements involving substance abuse, language and some sensuality.

Runtime:

103 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.37 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

Canada:13+ (Quebec) | Canada:14 (Nova Scotia) | Canada:14A (Alberta) | Canada:AA (Ontario) | Canada:PA (Manitoba) | Canada:PG (British Columbia) | Malaysia:U | Portugal:M/16 | South Korea:12 | USA:PG-13 (Certificate #36735) | Argentina:13 | Australia:M | Chile:14 | Finland:K-12 | France:U | Germany:12 | Iceland:L | Netherlands:12 | New Zealand:M | Norway:11 | Peru:14 | Singapore:PG | Spain:13 | Sweden:11 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:15 | Philippines:PG-13

Filming Locations:

Asheville, North Carolina, USA

Company:

Columbia Pictures Corporation

Trivia:

Sandra Bullock would drink a triple espresso before any scene that required her character to have uncontrollable shakes.

Goofs:

Factual errors: In a 28 day inpatient rehabilitation center, the men and women would not only be separated but would not be allowed to have any contact with each other. Any sexual contact as depicted in the movie can greatly affect the recovery process.

Quotes:

Betty: Tonight's lecture: Are you a blackout drunk, or don't you remember?

Movie Connections:

Referenced in "The Office: Initiation (#3.5)" (2006)

Soundtrack:

Should I Stay Or Should I Go

slick but occasionally enjoyable flick

There comes a time in the career of every performer identified mainly with lightweight romantic comedy roles to take the plunge into more serious acting challenges – in the hopes that we will see beyond his or her pretty face and into the heart of the great actor that resides within. And strangely enough, many of these actors and actresses choose the same exact route to accomplish this feat – that of portraying a person heavily addicted to drugs and/or alcohol. This was the case with, for instance, Meg Ryan in `When a Man Loves a Woman' and Michael J. Fox in `Bright Lights, Big City' to name just a few. Now we have Sandra Bullock attempting to stretch her thespian muscles by portraying an alcoholic in `28 Days,' the tale of a young woman's experiences in a detox center located in a bucolic suburb of New York City.

One of the initial problems with such films is that casting such well-known faces in these parts automatically ends up conferring a bit too much glamour on the situation. And `28 Days' is no exception. It's hard to accept Bullock as a particularly credible person in this role. Still, the movie is generally watchable because it manages to make the people and the rituals at the center seem both utterly addled and emotionally endearing all at the same time. When Bullock – feisty, close-minded, smug in her sense of superiority - first arrives after being ordered to the center as a part of her probation, we are as appalled as she is by the touch-feely nature of what is going on there. If anything could keep one from becoming an addict, the threat of being sent to a place like this would just about do it. But then, as the various characters begin to open up and reveal themselves as true hurting individuals, we, like the Bullock character, begin to be won over. But even these people aren't given enough screen time to really grow into fully-rounded, complex characters in their own right.

The film never entirely breaks out of its TV-movie formula. We are treated to all the standard plot devices common to the genre: the inevitable overdose by one of the patients, romantic interludes with a professional baseball player, the clashes between the latter and Bullock's troublemaking boyfriend. One of the problems with glossy studies of addiction such as this one is that, more often than not, we are led to believe that the `cure' is a permanent one – not necessarily because the film shows us that (in fact, it makes a few nods in the direction of showing that it ISN'T always permanent) but because the two-hour time frame and the audience demand for a hopeful, upbeat ending inadvertently leave us with that impression. To be fair to the film, it doesn't tie up all the loose ends into a nice pretty package. We are given cause for hope, but the open-ended nature of the final scenes suggests properly that the struggle will go on.

`28 Days' is a film with its heart in the right place. In fact our own hearts go out to it, to Ms. Bullock, to all those involved in its making. We realize that it is difficult to make a film that, on the one hand, yearns to be an uncompromising study of a subject as gritty as this one, yet, on the other, feels the need to appeal to as wide a mass audience as possible. The result, unfortunately, is a film that is too lightweight to be taken seriously, too `entertaining' to be real.