In smart splatter horror ’28 Years Later: The Bone Temple,’ faith and science crawl from the muck

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Okay, so last year’s “28 Years Later” really upped the ante with its terrifying new zombie – this guy wasn’t just running, he was methodically dismantling people, like something out of a horror show. But “28 Years Later: The Bone Temple“? It’s a total mind-bender. It’s shockingly gory, but also strangely…thoughtful. Honestly, it feels like watching a bizarre art installation – imagine a Jell-O wrestling match between a tough guy and a college professor at Burning Man. That weirdness perfectly embodies Dr. Ian Kelson, played by Ralph Fiennes. He’s this incredibly lively, captivating character who philosophizes about what makes us human while covered head-to-toe in this bright orange, gooey substance. It’s…a lot, but in the best way.

Just a quick reminder – you really need to have seen the first movie to understand this one. Dr. Kelson is a survivor of a rage virus that devastated most of the United Kingdom in the 2002 film, “28 Days Later,” which was written by Alex Garland and directed by Danny Boyle. Garland is back for this film, but Danny Boyle has handed over directing duties to Nia DaCosta, known for her work on “Candyman” and “Hedda.” The rest of the world has largely managed the crisis by isolating Britain, which is a bit like a very harsh and sudden Brexit.

Like Boyle, DaCosta approaches the zombie theme from two sides: a dramatic depiction of societal breakdown and a more subtle exploration of what came before. Most zombie stories focus on either the fall of civilization or its potential recovery, often using our current world as a benchmark. However, this series unintentionally captured the growing anxieties of the 21st century. The original shoot was interrupted by the 9/11 attacks, and when the series was released, images of Cillian Murphy walking through an empty London unexpectedly reflected a newfound sense of vulnerability and fear.

In the new film set in the late 20th century, Dr. Kelson, played by Fiennes, observes that the foundations of society seemed incredibly strong. Another character secretly believes humanity has overcome fascism. After decades of spreading, the infected have become primitive, almost like Neanderthals, and society has regressed to a basic, animalistic state. This gritty and compelling film takes a close, uneasy look at what emerges from this chaotic new world.

Twelve-year-old Spike (Alfie Williams) has no memory of life before the outbreak. He grew up on a remote island and, at the end of the last movie, ran away to the mainland, reluctantly joining a group of tough kids who run around in tracksuits, do parkour, and carry knives. Their leader, Jimmy (Jack O’Connell, known from “Sinners”), calls himself “Sir Lord Jimmy Crystal” and was only eight when everything went wrong. He watched in shock as his father, a preacher, believed the zombies were a sign from God, invited them into the church, and was immediately attacked.

Jimmy has embraced Satanism, and the show uses this as a tease to draw viewers into the next part of the story. We now spend significant time with Jimmy and his followers – a group of young disciples he affectionately calls his “peeps,” “Fingers,” and “Jimmies.” All seven are named after him, like Jimmy Ink and Jimmy Snake, except for one female follower who goes by Jimmima. They all wear striking blonde wigs and masks crafted from deconstructed Adidas sneakers – a creative and memorable design choice by the production and costume teams. Instead of the traditional “Amen,” this group chants “Howzat.”

Okay, so these kids are seriously messed up, but in a strangely fascinating way. What’s really wild is they’ve never even heard of Ozzy Osbourne or typical devil worship imagery. Instead, their whole creepy aesthetic—bright colors, rolling hills, flowers—is pulled straight from… Teletubbies! Yeah, you read that right. They’re running around terrorizing people, demanding everyone worship their leader, ‘Old Nick’ (which is just a fancy old way of saying the Devil), and the threat is clear: bow down, or face the consequences. It’s both hilarious and genuinely chilling to watch.

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The film touches on religious themes, but they feel forced and insincere, serving as a weak justification for the group’s extreme violence. It’s jarring when some of the characters later pretend to believe in it. They never seem truly fanatical – they come across as thugs – though their deaths are portrayed powerfully, with each member shrinking from terrifying to pitifully afraid as they realize they’ve been deceived. Unfortunately, the most compelling characters are usually the first to die, leaving us with the least interesting ones by the end.

People often wonder if faith leaders truly practice what they preach, and that’s true for Jimmy as well. The movie doesn’t quite develop him, or any of the characters, into fully fleshed-out people. Instead, they represent broad ideas – like faith, science, and the importance of connection – and the story creates a strange world where no one knows their neighbors. When these characters meet, they’re both uneasy and intrigued, recognizing something familiar yet different in each other. The conversations feel surprisingly honest, almost like a raw exchange between strangers.

In a more logical world, Ralph Fiennes’ incredibly energetic and funny performance would likely be recognized with an Oscar nomination. His character has spent the years since we last saw him building a bizarre structure of skulls in the Scottish Highlands, surrounded by piles of arms and leg bones. He calls it a reminder of death, and while his ancient ancestors, who built their own monuments on this land long before the Romans arrived in 71 AD, wouldn’t recognize the Latin name, they would understand the idea of paying respects to those who have died. We briefly see what could be Hadrian’s Wall, a previous effort to defend civilization from invaders.

Dr. Kelson is desperately lonely and has started a strange friendship with a very imposing, muscular man named Samson, played by former MMA fighter Chi Lewis-Parry. Samson, who wears a full-body prosthetic suit, isn’t easily controlled, and many people quickly learn that. However, he can be calmed with morphine. When Samson is high, the movie descends into a surreal and vibrant experience, filled with intense visuals and dreamlike dance sequences reminiscent of the film “Trainspotting.” (Be warned: a scene featuring Iron Maiden might be a little too energetic for some theaters!) While the movie seems to advocate for using drugs to relieve intense suffering, the possibility of negative consequences looms, hinting at a potential future installment that explores the fallout.

DaCosta’s visual style is more traditional than Boyle’s was. Despite starting filming only three weeks after the previous film finished, she shifted the approach while keeping a similar atmosphere. She replaced the iPhone cameras with professional equipment, traded fast, jump-cut editing for a smoother flow, and swapped an electronic soundtrack for orchestral strings. She also brought on new professionals for these changes: Sean Bobbitt as cinematographer, Jake Roberts as editor, and Hildur Guðnadóttir as composer.

She fully commits to the bizarre and humorous nature of the work, exploring its themes with intense energy, ignoring anyone who might criticize the playful and excessive use of imagery. One particularly striking scene shows a character arranging bodies like a romantic comedy lead decorating for a luxurious bath with countless candles.

DaCosta clearly enjoys using predictable jump scares and graphic close-ups, like a disturbing image of a crow feeding on exposed flesh. She establishes this intense style right away with the first death scene, featuring a cult member seemingly bleeding from… well, a rather unfortunate place. If that’s too shocking, this movie isn’t for you – things only get more intense. However, if you appreciate DaCosta’s boldness, be sure to check out her adaptation of Henrik Ibsen’s “Hedda,” which is currently gaining Oscar attention. It’s less visually gory, but just as emotionally harsh.

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2026-01-15 20:31