25/06/2025
28 Years Later (2025)
Rating - 4/5
Often credited for reigniting interest in the "zombie" sub-genre, director Danny Boyle and writer Alex Garland's 28 Days Later (2002), with its fast-moving, virally infected, not-quite-undead marauders rampaging through a post-apocalyptic England, continues to remain a popular and influential feature that is often recognized for its themes, performances and soundtrack. Though its follow-up, 28 Weeks Later (2007), did not receive the same level of critical and commercial appreciation, a third installment was officially ordered, but remained in a lengthy cycle of development hell until last year, which confirmed the return of both Boyle and Garland. And thankfully, their return to the world of the rage virus, proves to be a welcome one. Even though, their latest is an entirely different beast altogether, as it trades in the earlier road-film structures to create a new epic in the post-apocalyptic U.K. With noticeable shifts in tone and bold plot developments, yes, it's safe to say that this one is going to alienate a few fans of the first two films. While it manages to keep the same amount of energy and frenzied nature of the classic original entry and its fun if unsubstantial sequel, those seeking an endless barrage of zombie attacks and set pieces may find themselves underwhelmed by this first installment of a planned trilogy, as there's equal amounts of quiet and contemplative elements to this new series addition that includes a sure to be divisive final act that continues to prove both Boyle and Garland, esteemed filmmakers in their own right, are never content to take the easy routes. Personally, I found plenty to admire about this much anticipated sequel, from its engaging journey and interesting new characters to the surprising amount of emotional resonance that tied back to themes present in the first film, but most of all its willingness to try something a little different and unexpected. Leaving me quite excited for the next entry, the Nia DaCosta directed '28 Years Later: The Bone Temple', which is set for release in January 2026. Opening in 2002 with a truly horrifying sequence set during the initial outbreak, the story moves ahead 28 years, where islands remain under quarantine, with consistent multinational Naval guards surrounding them, as societies of survivors have hunkered down into fortified communities, and follows a 12-year-old boy named Spike (Alfie Williams), who lives in a tidal island kept isolated from the mainland by a lengthy causeway that disappears with the tide. Now as a rite of passage to bring him to manhood, Spike has accompanied his father Jamie (Aaron Taylor-Johnson) to the mainland to train for fighting the infected and become a necessary part of their community. But as Spike and his father brave the hazards of evolved versions of the infected, he also learns about Dr. Ian Kelson (Ralph Fiennes), a former general practitioner, who is still living in this danger zone and is considered deranged due to the bizarre rituals he has been carrying out. And in his desperation to help his seriously unwell mother, Isla (Jodie Comer), who is stricken with an illness that no one in their community can identify, Spike ends up disobeying all the island’s rules by taking her with him out into this forbidden area, on a desperate quest to find this doctor who can possibly cure her. Indeed, the film plays perfectly as a very tight, intense zombie survival thriller, accentuated by the newness of the situation to young Spike, at its core, this one is very much a coming-of-age story that just happens to be set in a post-apocalyptic world. While certainly not unfamiliar territory for the genre, writer Garland's script subverts the pessimistic tones typically established with this genre. Sure, it paints its world as very harsh with little room for error or misstep, it also portrays a world with significant beauty, particularly those long shots of fields. Here, Garland’s cerebral themes and world-building work in tandem with director Boyle’s emphasis on emotional stakes and visual/formal playfulness. In the sense, they are able to find new nuances and ways to make the landscapes of fear even more fearsome. Particularly by looking into how the infected have mutated in the past two decades or so. Specifically, the Alphas, the leaders of the infected, who not only prove to be rather intelligent, but also like to separate heads from bodies in brutal fashion. Both physically and mentally different from your typical infected, the Alphas are an interesting subject that should be explored more in the sequels. Even Garland’s attempt at humanizing some of the infected, trying to make it seem like they are no different than the survivors, works surprisingly well, especially in a birth scene where we see an infected, pregnant woman in pain touch the hands of Isla as she is giving birth, for a moment at peace with one another. Visually, the film-making on display is director Danny Boyle at his best. Shot on iPhone, the frantic editing, the unnerving camera movements, the zooms, and the contrast rich lighting all make for an unsettling experience, while the night vision scenes, drenched in red lighting are particularly terrifying. Performance wise, Aaron Taylor-Johnson and Jodie Comer bring in strong, affecting turns, each tapping into the film’s broader themes of survival and emotional inheritance, while Ralph Fiennes flexes his acting muscles with a scene-stealing turn that creates some of the film's most memorable moments. Anchoring it all is young Alfie Williams, who at such a young age is able to carry on the legacy of the franchise, as a genuinely sharply written protagonist and brings a sincerity well beyond his years, making him a compelling new emotional center for upcoming sequels. Edvin Ryding is also exceptional as the brash Swedish NATO solider. Jack O'Connell and Erin Kellyman too appears in small roles, which will probably expand in the sequel. On the whole, '28 Years Later' is an unconventional, ambitious and intriguing blockbuster sequel that is almost groundbreaking in some aspects. , , , , , , , ,
