Movies

28 Years Later Review: The Ultimate Zombie Sequel You Didn’t Know You Needed!

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In John Wyndham’s 1951 science-fiction novel “The Day of the Triffids,” which served as inspiration for Alex Garland’s acclaimed 2002 zombie-horror film “28 Days Later,” an enigmatic green meteor shower leaves most people blind. The plot hints at a potential role for giant, carnivorous plants in the disaster, though they seem almost insignificant compared to the larger issue. A band of sighted individuals navigate the English countryside to rebuild society, facing both the advantages and risks that such endeavor entails. If you had the chance to create your ideal world without any external influence or guidance from foreign countries or groups, would it be a utopia or a catastrophe?

Wyndham’s novel is filled with layers of comfort and disquiet, two feelings that Garland and director Danny Boyle also portrayed in “28 Days Later,” a film where a virus transformed many into rage-filled zombies. In the same vein, Garland and Boyle’s upcoming sequel to this initial movie, titled “28 Years Later,” mirrors Wyndham’s style more closely and addresses contemporary issues more directly. With our own experiences of living through a pandemic, we can relate to the story even more deeply. Moreover, this new film, released into a geopolitical climate significantly changed from 2002’s, explores themes related to the aspirations of those who voted for Brexit and the unintended consequences—the ways in which Brexit has caused more issues than it resolved.

With that matter settled, let’s get straight to the point: Essentially, the film “28 Years Later” focuses on zombies, a topic that seems to be what most people are eagerly waiting for.

In his own words, Boyle expresses discomfort with calling the aggressive, ravenous characters in this movie and its predecessor “zombies,” as it strips them of their humanity. Instead, he prefers to call them “infected.” However, the term “infecteds” doesn’t seem to attract audiences as well. One might argue that a zombie by any other name still holds the same appeal. Nonetheless, the film “28 Years Later,” although Cillian Murphy, who was central to the original, does not appear in it, delivers on its promise of numerous relentless and terrifying infected hordes attacking terrified uninfected individuals. It undeniably serves as a true sequel to their earlier work, a grim and poetic portrayal of an apocalyptic scenario if ever there was one. Juan Carlos Fresnadillo’s standalone follow-up “28 Weeks Later,” released in 2007, now appears more like a brief diversion within the franchise.

Although the sequel “28 Years Later” retains elements that made the original film impressive, it seems to deliver less overall impact. The cinematography by Anthony Dod Mantle is visually stunning, showcasing his lush and enchanting style once more. The editing is sharp and inventive, incorporating ominous World War II newsreels and clips from Laurence Olivier’s 1944 “Henry V,” adding depth to the narrative. This film is undeniably ambitious, brimming with intricate ideas. Some aspects are breathtakingly beautiful while others might be overbearingly melancholic, possibly prompting a sigh of discomfort. However, it ensures that you’ll never find yourself feeling bored.

28 Years Later begins with a chilling scene involving children at risk: A cluster of frightened kids cower inside a home nestled within the Scottish highlands, engrossed in an old VHS tape of Teletubbies. As fate would have it, the house is invaded by zombies infected with rage-virus, causing chaos and spreading bloodshed. However, one child manages to flee, seeking refuge in a nearby church. The movie leaves you hanging about the child’s fate, but along the way, Boyle and Garland weave an intricate tapestry of horrors designed to shock, disgust, and entertain you throughout.

In this story, the protagonist-to-be is a 12-year-old boy named Spike, portrayed exceptionally well by Alfie Williams. He resides on an island with his father Jamie (Aaron Taylor-Johnson) and mother Isla (Jodie Comer). This island has miraculously remained free of infection in a post-virus Britain, thanks to the diligence of its rugged inhabitants. It’s mentioned at the beginning that Europe and other parts of the world have managed to contain the virus, making it a problem primarily for Britain (a potential Brexit metaphor). This resilient group has constructed a harmonious, self-sufficient, and somewhat hippie-like community. Sheep graze peacefully in the fields, men work diligently crafting arrows to defend against zombie intruders, while women and girls carry out their domestic duties gracefully. Indeed, it’s a reflection of how the world ought to function, isn’t it?

On this tranquil island, connected to the mainland merely by a skinny bridge, stands a formidable fortress, impregnable against zombie attacks – this serves as a barrier on the island’s side. The island men are tasked with venturing to the mainland, armed with arrows crafted personally, to fight off the undead. Spike, despite his tender age, is yearning to assert his manhood according to his father Jamie, who also believes Spike is ready for this duty. However, Spike’s mother wishes to keep him close. She’s ill and often unaware of her surroundings. There’s a sense that something dire is happening, and Jamie is growing weary of her condition; yet, Spike remains steadfast in his affection towards her.

Keeping your knowledge minimal about Spike and Jamie’s zombie-hunting adventure and the surprises it unveils is advisable for maximum impact. Let me share that the zombies are obese and lumber along like oversized infants, while feeding on worms from the ground. There are also swift, elusive zombies with a wild fury in their eyes. Boyle skillfully portrays the infected as more compassionate than the isolated islanders. They’re driven solely by instinct and necessity, not a longing to restore life to its former state. However, you’ve been alerted to this. Ralph Fiennes enters the scene towards the end of the film, when you might be growing restless, adding an amusingly quirky character that significantly alters the movie’s mood. His performance is exceptional. A second actor, who I won’t name, appears later with rotten teeth and a stylish tracksuit – another exciting twist to look forward to.

Boyle and Garland excel at creating and relieving tension: when you think you can’t handle any more gruesome internal organs or disconnected spinal cords, they provide a moment of respite. In some scenes, 28 Years Later is beautifully melancholic, mirroring the desolate poetry of the original film. And Mantle captures the countryside, a place that is both soothing and threatening, offering solace and foreboding skies, as if he were making an offering to Jack Cardiff, the deity of British cinematic beauty who shot most of the films of Michael Powell and Emeric Pressburger.

28 Years Later offers a blend of frightening and fascinating elements, yet its conclusion is abrupt and somewhat nonsensical, in a high-octane rock ‘n’ roll style that disrupts the overall tone. It seems as if Director Boyle hesitated to conclude the film on a too somber note. However, this ending, regardless of personal opinion, serves as a starting point for the story. Boyle and Garland are working on two sequels, one already filmed under the direction of Nia DaCosta, known for Candyman and The Marvels, while Boyle will return for the third installment. So, prepare yourself for more years in the universe of 28 Years Later. The zombies will draw you in; the metaphors will keep you engaged – no need for spoiler alerts as the story continues!

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2025-06-19 05:06

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