’28 Years Later’ Review: Jodie Comer and Aaron Taylor-Johnson in Danny Boyle’s White-Knuckle Sequel to His Apocalyptic Game-Changer

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Approximately two decades ago, director Danny Boyle and screenwriter Alex Garland gave audiences a heart-pounding reimagination of the zombie apocalypse genre with their film, “28 Days Later“. Not only was it a terrifying thriller, but also a thoughtful political commentary. Even today, this 2002 movie is considered one of the most impactful horror films of the 21st century. It paid homage to its predecessors, but surpassed George A. Romero’s slow-moving undead by introducing fast-paced zombies that swarmed like a cloud over a devastated Britain, severing it from the rest of the world.

Packed with raw emotion, gripping intensity, and a deep sense of immersion, the latest installment in the franchise titled “28 Years Later” takes viewers on an unexpected journey. The story brilliantly centers around a young protagonist, Spike, portrayed exceptionally well by newcomer Alfie Williams, who manages to balance vulnerability and resilience in a truly captivating performance. This film transcends the boundaries of a survival thriller, weaving in heartwarming familial drama, a profound spiritual narrative, and subtle doses of humor. The clever details, such as a Shell gas station missing an ‘S’ on its sign and a diner named Happy Eater, add delightful nuances to the storyline.

The initial segment of this three-part series showcases that Jim Mickle and Nick Antosca haven’t run out of innovative ideas for heart-stopping horror. Although the director has consistently emphasized that 28 Days Later is not a zombie movie, his latest addition to the “rage virus” saga stands shoulder-to-shoulder with his previous work as well as notable genre classics such as George A. Romero’s Dawn of the Dead and Yeon Sang-ho’s Train to Busan.

Bypassing the happenings in Juan Carlos Fresnadillo’s 2007 sequel titled “28 Weeks Later“, Garland’s script commences with a witty jab at British self-isolation, as it portrays the virus spreading from continental Europe to be contained within the U.K. mainland. This could be seen as a reversed version of Brexit, bringing hordes of unwanted infected onto the island and leaving the Brits to cope on their own, with European military vessels monitoring the coastline.

In the prologue, there’s a playful undertone as we see a group of kids trying to tune out the unsettling sounds from another room, all while enjoying a show featuring the Teletubbies. These nonspeaking characters, with their perpetual smiles, empty-looking eyes, and TV screens in their bellies, might be someone’s unique vision of infantilized, post-apocalyptic humanoids on a psychedelic trip.

As an intensely contagious group, labeled collectively as virus carriers, violently charges through a door and chaos ensues, causing the screen displaying Dipsy, Laa-Laa, Po, and Tinky-Winky to become stained with blood. One child, Jimmy, miraculously escapes and rushes to a nearby church. There, it’s disclosed that he is the son of a mad preacher. His father, clearly disturbed, greets the horde as the “Day of Judgment,” but not before giving Jimmy a crucifix, urging him to hold onto it forever. It’s undeniable that Jimmy will reappear at some point.

Spike resides on Holy Island, a small piece of land in the northeast coast of England, cut off from the mainland by a tide-exposed causeway. His parents, Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer), are his housemates. Isla is bedridden due to an unidentified illness that causes her immense pain and inconsistent consciousness. Given the scarcity of surviving doctors or treatments, it seems her illness will have to take its natural course, one way or another.

Residents within this closely bonded settlement, enclosed by strong walls, each hold specific duties – farming, hunting, fishing, gathering, baking, and so forth. They’ve structured their civilization much like earlier eras, unaffected by contemporary advancements outside of their fortified area.

Regarding this topic, Boyle and Garland add depth and nuances to the British folk horror genre with their latest chapter. This depth is further emphasized by interspersed clips showing England throughout its military history, dating back to medieval times and extending up to WWII. Similarly, scenes of panicked deer herds, ominous clouds of crows, and the chilling use of Rudyard Kipling’s 1903 war poem “Boots,” are incorporated as haunting voiceovers.

Even though Jamie is a few years younger than the typical age when island residents embark on their initial mainland journey, he believes Spike is mature enough and proficient enough in archery to join him for the crossing and claim his first kill of an infected. The community’s joyful farewell acknowledges this as a significant milestone, but the gatekeeper warns Spike that no rescue teams or search parties will be dispatched if colonists do not return from their expedition.

Survivors, scattered here and there, seem to have gone back in time, while the infected keep on developing into different strains, much like the Cordyceps-affected creatures in the game ‘The Last of Us’.

The bulky creatures resembling snails on land, often referred to as “Slow-Lows,” have an odd, distorted body shape with slippery undersides that give them a grotesque appearance, much like exaggerated sculptures by artist Fernando Botero. Creatures once domesticated and infected by the original virus strain now roam the land, lean and wild, having shed their clothing years ago.

The most fearsome are the bulky Berserkers, often referred to as “Alphas,” whose bodies have been influenced by the virus in a way that resembles steroid use, enabling them to decapitate victims and wield their heads by the spinal cord. The main character in this scenario (portrayed by MMA fighter Chi Lewis-Parry) is an enormous creature whose raw power is complemented by his intelligence. It’s also worth noting that he sports a large prosthetic penis, which is impressive, rivaling Alexander Skarsgard’s portrayal in the movie “Pillion.

Initially, Jamie leads Spike through lush forests and open fields without any issues, advising him to target the head or heart. Not long after, the boy successfully claims his first kill, striking a Slow-Low with a deadly arrow. However, what truly captures attention is the signs suggesting that families of the infected have begun to form.

In the vicinity, somber calls echo from Slow-Lows, captivating the interest of other contaminated beings in the area. They position themselves on a scenic hilltop, poised and ready for the Alpha’s command to strike. That breathtaking long shot portrays a quintessential English countryside vista, its serene peace disrupted by ominous figures resembling displaced individuals from an ancient era.

One exhilarating scene among several in the story involves Jamie and Spike fleeing through the woods while being pursued by the infected. These pursuers close in on them quicker than they can draw their arrows. They find shelter in an abandoned farm structure, hiding up in the loft until morning’s low tide. At night, Spike detects a fire at a distance, but Jamie dismisses it as insignificant.

Following their thrilling comeback to Holy Island, Spike finds himself troubled by his father’s overly joyful exaggerations at the ensuing celebration, boasting about Spike’s bravery in battles where the timid boy had actually been too scared to contribute during the fight.

The confusion over his father’s dishonesty intensifies when Jamie secretly leaves the gathering to bed a young woman from the village. This doubt deepens further when an old family acquaintance, Sam (Christopher Fulford), suggests that the fire Spike saw might have been started by Dr. Kerson (Ralph Fiennes), who has a reputation for his unconventional behavior. Jamie dismisses Kerson as insane, but Spike now believes he’s deceiving him.

In the wake of an intense argument with my old man, I devised a plan to create a diversion so I could sneak mom off this island and navigate treacherous landscapes in search of a doctor who might save her life. The relationship between me and mom takes center stage throughout the movie, made even more poignant by Isla’s confusion caused by delirium, which often makes her think I’m her late dad instead. Yet, despite her foggy state, she manages to tap into her motherly instinct in a critical moment, proving herself when it mattered most, amidst the haze of her mind.

Although the entire cast delivers strong performances, particularly Taylor-Johnson who portrays the struggles of a tormented father and spouse in difficult circumstances, it’s Comer who truly shines. Isla undergoes a gradual, nuanced transformation on the mainland, starting as a disheveled and unwell character, but gradually becoming more radiant as if she’s finding strength from nature.

In some suspenseful moments, they accompany a young Swedish naval officer named Erik (Edvin Ryding), who survived after his patrol boat crashed on the Scottish coast. He humorously labels their situation as “Scotch on the rocks,” which leaves Spike puzzled, much like the stranger’s cellphone and night-vision helmet. This seems to be a reference back to Cillian Murphy’s character from the first film, who worked as a bicycle courier. One of the most daring scenes unfolds inside a train compartment, where Isla helps an infected person in trouble, unknowingly attracting the attention of the Alpha and revealing their presence.

The film reaches its peak of emotional impact when they arrive at Kerson’s location and witness the awe-inspiring “Memento Mori” temple he constructed from skulls and bones, a tribute to the departed. Simultaneously, he demonstrates love among the living by safeguarding Spike and Isla, offering them tranquility. (It’s worth noting that the intricate design of the set and costumes is a testament to the creativity of production and costume designers, Gareth Pugh and Carson McColl.)

In “28 Years Later,” the heartfelt performances by Comer, Williams, and Fiennes provide a profound essence that was equally notable in the 2002 version, demonstrating the resilience of humanity amidst the bleakest dystopias. Notably, Fiennes shines in his nuanced portrayal of Kerson, a character who is both feral and scientifically astute, with his body marked by iodine as a barrier against infection.

Filmed by Anthony Dod Mantle on a vast, expansive screen format (2.76:1) similar to that used for IMAX or Ultra Panavision 70, the film’s visual elements are captivatingly rich. The powerful, athletic cinematography complements Jon Harris’ equally nimble editing, punctuated by abrupt, heart-pounding transitions. Moreover, Johnnie Burn’s immersive sound design harmoniously collaborates with the diverse score created by Scottish indie art pop/alternative hip hop group Young Fathers.

Boyle consistently demonstrates exceptional creativity in his musical choices (the “Trainspotting” scene with Iggy Pop’s “Lust for Life” stands as a classic example). In this instance, he skillfully combines unsettling segments of synth distortion with energetic guitar riffs, punctuated by intense drumbeats. A movie that incorporates the somber 19th century Scottish hymn “Abide With Me” and a fierce outburst of death metal is far from being risk-averse.

One significant advantage of the movie “28 Years Later” is that it avoids the appearance of being a mere cash grab, attempting to rehash old material for commercial gain. Instead, the creators seem drawn back to a tale whose commentary on our current bleak political situation feels strikingly relevant. The intriguing foundations laid for potential sequels have fans eagerly anticipating their arrival.

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2025-06-19 00:25