Product Description

A disastrous drunken episode lands successful new york journalist gwen cummings in rehab, where she encounters a bizarre assortment of characters and unique rituals during her touching and often hilarious road to recovery. Special features: interactive menus, scene selections, and much more.

Product Details

• Amazon Sales Rank: #2106 in DVD
• Brand: Sony
• Released on: 2000-09-19
• Rating: PG-13 (Parental Guidance Suggested)
• Aspect ratio: 1.85:1
• Formats: Anamorphic, Closed-captioned, Color, Dolby, DVD, Special Edition, Widescreen, NTSC
• Original language: English
• Subtitled in: English
• Number of discs: 1
• Dimensions: .20 pounds
• Running time: 104 minutes

Amazon.com
To appreciate 28 Days, it's best to be thankful that director Betty Thomas hasn't forced Sandra Bullock into a remake of Clean and Sober. Instead Thomas has balanced her comedic sensibility (evident in Dr. Dolittle and Private Parts) with the seriousness of alcoholism and substance abuse, and she succeeds without compromising the gravity of the subject matter. Some critics have scoffed at the movie's breezy, formulaic portrait of 27-year-old boozer and pill-popper Gwen Cummings (Bullock), but this smooth-running star vehicle does for Bullock what Erin Brockovich did for Julia Roberts, focusing her appeal in a substantial role without taxing the limits of her talent. It's no wonder that Susannah Grant (who wrote both films) was one of the hottest new screenwriters of 1999. She writes "Hollywood Lite" without insulting anyone's intelligence.

As played by Bullock, Gwen is an alcoholic in denial whose latest bender with boozer boyfriend Jasper (Dominic West) ruins the wedding of her sister (Elizabeth Perkins) and lands her in a month-long rehab program with the requisite gang of struggling drunks and junkies. Newcomer Alan Tudyk steals his scenes as a gay German rehabber who might've dropped in from a Berlin performance-art exhibit, and Steve Buscemi aptly conveys the weary commitment of a counselor who's seen it all. Thomas has surrounded Bullock with a sharp ensemble, and the addition of singer-songwriter Loudon Wainwright III (as a kind of Greek chorus crooner) is sublimely inspired. Certainly no surprises here--the warring sisters will reconcile, and at least one rehabber will fail to recover--but there's ample pleasure to be found in Bullock's finely tuned performance, and in Thomas's inclusion of flashbacks and tangents that add depth and laughter in just the right dosage. --Jeff Shannon

Customer Reviews

Here's Looking at You, Sandra Bullock
Director Betty Thomas has achieved something rare: A modern movie that tackles a serious issue and emerges with it's tastefulness intact. "28 Days" has the plot of a drama, the soul of a comedy, the feel of a documentary and a fabulous performance by Sandra Bullock that gives each genre a place in the delicate mix of this wonderful movie.

Bullock is Gwen Cummings, an alcoholic, pill popping journalist who is sentenced to spend 28 days in a rehab center she drunkenly steals a limo and crashes it into a house. Leaving behind her boozy British boyfriend Jasper (superbly played by Domonic West), Gwen soon finds the support and understanding of her eccentric and often hilarious new neighbors. There's Eddie (Viggo Mortensen), the washed up baseball player who'll sleep with anyone; Oliver (Mike O'Malley), the wisecracking Park Avenue pot addict; Andrea (Azura Skye), a young woman addicted to drugs and a preposterous soap opera called "Santa Cruz," which she eventually turns everyone on to; and Gerhardt (Alan Tudyk), the wacky German. "28 Days," unlike an "Erin Brokovich" where one star dominates, is an ensemble film that allows a variety of talents to shine. And with a cast of this caliber, sometimes that shine rivals the stars themselves in brightness.

Despite many humorous moments, it's the dramatic aspects of "28 Days" that make it great. When Gwen becomes so desperate for her pills that she jumps out the window to get some she threw away earlier, the obsessiveness and despair of dependency are captured at their most vivid. Then there's her troubled relationship with her sister Lily (sensitively portrayed by Elizabeth Perkins), who can't decide whether she wants to give up on the woman who has never been there for her, or stand by her in the hope that she will reform, risking having her heart broken yet again.

It's because Bullock and screenwriter Susannah Grant have made Gwen such a likable character that these situations have real bite. Sine we can't decide whether we love her or hate her, we keep watching the movie on the edge of our seats, searching for something that will proove to us once and for all what Gwen Cummings is. The movie wisely avoids giving us a straight answer to that and many other questions, allowing the viewer instead to make their own decisions and create their own relationaships with the characters and the things they encounter.

"28 Days" is a triumph for all involved. There's nothing better for a cynical critic like me then proof on the screen that films moving stories with engaging characters are still being made. Perhaps the best news of all is the resurrection of Sandra Bullock's career after three flops in a row. If she continues to show such wise judgement in choosing her projects, this poor man's Julia Roberts may be topping the A-list once again.

Sandra can play ANYTHING well
Sandra Bullock is the industry's favorite girl next door, much to her own well-reported chagrin. But there is just something about her that exudes "next-door" charm, whether or not she supports the label's overuse. Maybe it's because she's such a gem of a person, especially compared to the coldness of many of today's big stars.

So when you are about to see this film you will anticipate that it be light-hearted, not serious, in other-words, totally Sandra. But the only thing light-hearted about the movie are the circumstances several of the supporting cast members get themselves into. Sandra plays this alcoholic with all of the angst she's got. And it's a heck of a lot more than anyone would have pegged her for.

So is she depressing to watch like this? Yes and no. Depressing because, based on those nasty preconceptions us lazy viewers have, you're waiting for her to jump out and say "Just kidding!" throughout the movie - her usual style - and, to everyone's surprise, she really doesn't. She gives every ounce of credibility and intensity to a role that many would like to write off simply b/c it is too hard to change one's preconceptions.

I am so excited when I stumble upon a performance, such as this one, that allows me to deepen my respect for an actor. Sandra has deepened everyone's respect with this role. She is a consummate professional actress: She plays every role as if it were herself and only herself on the screen.

And hey, even if it IS only acting, she fooled me . . .

A little light but still meaningful
Some movies are just fluff, while some can change lives. 28 Days falls solidly into the second category, although it is by no means it is a documentary. It is a light Hollywood treatment of a serious topic. You can take the point of view that at least maybe people who ARE addicted will see it without realizing the full import up front, and realize they need help.

We begin with Sandra Bullock's character, who is a New York lady living the high life with her boyfriend. After a night of heavy drinking, she wakes up late for her older sister's wedding. She completely destroys the wedding, crashes the wedding limo and ends up in rehab.

You get the typical transition from surly, angry newcomer to understanding, coping recovery person - learning more about her past and the characters around her along the way. Situations are extremely two dimensional and oversimplified, but to be fair, the movie only has so many minutes in which to tell the story. There are the traditional set-backs and problems, and small victories.

So where is Viggo, the 2nd billing, in all of this? If you're a Viggo fan, you spend about half the movie waiting for him. He eventually shows up as a baseball pitcher tossed into rehab to fix his drugs-and-girls habit. He's got southern charm and a laid back personality, as always. And yes, there are horses. It seems Viggo likes to be in horse-movies. In this case, the horse is one of the key "characters" - it symbolizes Sandra's ability to finally let things go and trust in life.

It's actually suprising that Viggo got second billing here. He doesn't have many lines, and he isn't even a 'romantic partner' for Sandra. In fact he is quite innocent when Sandra's boyfriend accuses Viggo of stepping into the situation. Viggo does deliver the final message to her as she leaves rehab, though - to learn how to forgive, and to cut her boyfriend loose in order to face a new world alcohol-free. Sure enough, it turns out her boyfriend is trying to drag her right into the same world, and she does better to go it alone.

The scenes with Viggo were a little contrived, but they had their own charm. Viggo had his low key country charm, but punched Sandra's boyfriend pretty quickly when things got rough. He showed Sandra how to pitch, and had her throw the ball with her eyes closed, to teach her trust. On the other hand, he was literally caught with his pants down, showing that he hadn't quite given up the sleeping around yet.

The only thing missing here in the "Viggo Standards" was another language - Viggo only gets to speak "southern American" in this film!

Interestingly, this was Viggo's last movie before the Lord of the Rings series. So he went from a very understated role, to one which made him world famous.