Movies

Brainy and bizarre, ’28 Years Later’ shows a zombie series running into dark, strange territory

BBG News

In 2002, screenwriter Alex Garland successfully persuaded director Danny Boyle to bring zombies back from a state of inactivity – and even make them run. The fast-moving undead creatures in their low-budget film “28 Days Later” gave a fresh boost to the genre. However, due to numerous subsequent interpretations, the concept has started to feel stale. Thus, Garland and Boyle have collaborated once more to explore if there’s still any creativity left in these familiar characters.

28 Years Later, the initial installment of a planned trilogy, displays a central storyline that’s rather bland but is enriched by an uncommon ambition, eccentric supporting characters, and frenzied editing. It’s a peculiar showcase, a film that swiftly transitions from philosophical moments to violence, from heart-wrenching emotions to humor. The tone of the movie is quite disjointed, shifting abruptly from one scene to another, much like a confused creature. Directors Garland and Boyle seem intent on keeping viewers guessing, at least for now.

The story unfolds approximately three decades into a devastating “fury” virus pandemic, which has separated the British Isles from the rest of civilization. A small group of individuals reside in a somewhat secure environment on Lindisfarne, an island just under a mile off the coast. At low tide each day, there’s a walkable causeway connecting the island to the mainland. Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer) were children when society crumbled, about the same age as the kids seen in the film’s amusing opening flashback who are watching “Teletubbies” while hearing their babysitters being bitten. However, these survivors have learned to mature and start families of their own under these challenging conditions. In this harsh environment, Jamie and Isla have named their son Spike.

Despite his unusual name, 12-year-old Spike (Alfie Williams) is actually quite kind-hearted. When his father secretly gives him a valuable portion of bacon, he selflessly shares it with his ailing mother who’s bedridden upstairs. The script attempts to portray Spike as innocent and malleable, but based on the storyline, he appears to be the child of two underdeveloped individuals. His potential careers suggest a rough upbringing – hunter, forager or watchtower guard. However, his actions seem more in line with a graduate from a progressive Montessori school, even though his father encourages him to laugh at gruesome sights like shredded deer intestines. When Spike isn’t watching, Johnson shows signs of adult burdens he alone comprehends as he climbs the stairs to Comer’s sickroom, hinting at hidden complexities only he understands.

Movies

In a chilling revisit to the haunting universe they established for the 2002 film ’28 Days Later,’ directors Danny Boyle, screenwriter Alex Garland, and cinematographer Anthony Dod Mantle delve back in.

In simpler terms, Spike’s tale is essentially a story about growing up under challenging circumstances. After successfully defeating his first infected, his father boasts, “The more you kill, the easier it gets.” Motivated by the desire to find a real doctor for his ill mother, Spike plans to smuggle her to the mainland. The movie’s editing (by Jon Harris) becomes quite dynamic, capturing our attention by interweaving old black-and-white footage of children marching to protect their homes, from newsreels and classic adaptations like Laurence Olivier’s 1944 “Henry V.” A chilling electronic soundtrack by the Scottish group Young Fathers creates an unsettling atmosphere, while a voice recites Rudyard Kipling’s “Boots,” a poem about the grueling Boer War. This film technique might seem fancy, but it intentionally feels raw and confusing. Just like “28 Days Later” shocked audiences with its use of digital cameras, this movie maintains a rebellious edge despite the success and prestige that its directors have earned over time.

The movie appears to convey that our more compassionate, harmonious beliefs are exceptions rather than the norm. Historically, humanity has been characterized by conflict and discord. This theme is powerfully portrayed in the film’s backdrop, with its decaying castle turrets and frayed English flags, which subtly remind us of historical struggles like Brexit and the Viking invasions that began on this very island in 793. A ninth-century account depicts the Lindisfarne massacre as gruesome scenes of bloodshed, trampling, and fear, describing “heathen men causing widespread destruction.” These words could easily fit into a pitch deck for the movie titled “28 Years Later.

In passing, it’s worth mentioning that Lindisfarne is still a tiny, isolated place without any doctors presently. The character Kelson (played by Ralph Fiennes) doesn’t make an appearance until the final act, but he’s absolutely worth the delay. Similarly, Jimmy (portrayed by Jack O’Connell), who enters the story just before the end credits roll, manages to pique our interest for the upcoming sequel, which has already been filmed. Jimmy’s wardrobe, consisting of tracksuits and bleached hair, hints that his knowledge of pop culture may have peaked with Eminem. The characters played by Boyle and Garland are brimming with energy, leading one to think they are carefully hoarding their finest scenes, much like how Spike might resist a piece of pork.

This puzzling and stubborn film doesn’t fully disclose its intentions. However, it offers an engaging critique on human advancement. The unaffected Brits are portrayed as having regressed their society by a thousand years. A Swedish sailor named Erik (played exceptionally well by Edvin Ryding) treats the Brits as if they were cavemen, as they have never encountered an iPhone, although the movie was filmed using them. When presented with a picture of a contemporary Instagram model with enhanced features, Spike exclaims in surprise, “What’s wrong with her face?

Movies

This summer seems packed with blockbusters from Hollywood, intelligent independent films, and a decent portion of entertaining yet brainless movies, which are essential for a well-rounded summer movie experience.

The infected individuals have advanced even more and divided into two distinct sub-groups: the “slow-low” zombies, resembling grubs, who consume worms with a revolting slurp, and the Neanderthal-like sprinters who hunt in groups. The swift ones are led by an aggressive figure (Chi Lewis-Parry), who demonstrates his ambition by tearing off his prey’s heads to use their spines as tools, or perhaps even as decorations.

One amusing way he displays this is through his newfound hobby of using the spines of his victims as instruments, or possibly even as ornaments.

In simpler terms, Dr. Kelson, who is a shaman, sculptor, and anthropologist, strongly believes that even those infected with the disease retain their shared humanity. He expresses this by stating, “Every skull has had a thought,” as he impales a recently decapitated one with a pitchfork. Over the years, he’s found a unique way to honor death, and although his experiences can be hallucinatory at times, they are deeply emotional. Despite Fiennes being smeared with iodine and resembling a yellowed Colonel Kurtz, his peculiar way of saying “placenta” made me laugh out loud. However, it seems the filmmakers intended for us to laugh since he embodies the perfect balance of intelligence and absurdity that the movie is aiming for.

In this movie, it’s not clear who can be considered civilized – the infected or the uninfected? The plot seems to switch allegiances without taking a definitive stance. I must admit, I’m skeptical about sweetie pie Spike being the main character I wish to follow for another two films. However, no matter how events unfold, it’s almost inevitable that humans will continue to turn on each other, just as they have done since the first Homo sapiens picked up a stick to attack their rivals. This is the compelling aspect of the zombie genre – it shows that the very things that make us feel safe, like love and loyalty, can also be our downfall. “28 Years Later” challenges us to revert back to our primitive selves.

Read More

2025-06-19 23:31

Previous post Don’t miss the trailer for Michelle Dockery’s “chilling” horror movie with “relentless suspense”
Next post Oasis brothers Noel and Liam Gallagher are pictured together for the FIRST TIME since announcing their reunion tour as they recreate their 90s heyday in new Adidas campaign