Summer of 2007 was the season of disappointing sequels. Resident Evil Extinction, Spiderman 3, Pirates of the Caribbean at World’s End, Shrek the third, Die Hard 4.0, Fantastic Four: Rise of the Silver Surfer, Rush Hour 3, Evan Almighty, Ocean’s 13. From mediocre to outright terrible, it was a tough time for movie buffs like me.

The most egregious misfire was 28 Weeks Later, which starts with a terrific chase and then sputters to a disappointing finale. All the wrong decisions you could’ve made with the movie were made, which is a shame, as it was a good premise that although contradicting the end of 28 days later, it just wasn’t as good.

The soundtrack however, was delectable. Sure, John Murphy started to overuse that In a house, in a heartbeat piano motif, but it works wonders in some of the tracks. Case in point, the piece for the best scene in the movie, where a napalm airstrike is ordered on the streets of London and our protagonists barely make it to the underground. The music is sombre and heartfelt, the images, even with some ropey CGI, still heart-wrenching. It’s a haunting scene that stays with you.

Looking back at that summer, some movies need a reappraisal. I like Pirates and Rush Hour now, but the rest? Not so much. 28 Weeks might be the runt of the litter on its franchise, but its soundtrack is very well worth your time. Time can help you re-appraise stuff, with the perspective of time. I remember the first time I listened to this soundtrack again. It was February of 2009, I was late with coursework for my masters, it was 4 am and I was listening to this song. The bird calls mixed with the songs of sparrows and starlings on the trees in Endcliffe Park. I barely managed to finish.

I revisit this song in particular because I’m writing a sci fi book and it just feels right to leave it on a loop, setting a mood, allowing a seething ambiance of helplessness flow through. Promise I’ll finish that book.

-Sam J. Valdés López