
Review: ‘28 Years Later' is fresh flesh — the best zombie movie in a decade
The long-in-development third film in the ' 28 Days Later ' franchise has finally arrived, and the wait was worth it. That time was apparently well spent, because '28 Years Later' is a massive improvement over the 2007 sequel ' 28 Weeks Later.'
The new film reunites director Danny Boyle (' Trainspotting,' ' Slumdog Millionaire ') and writer Alex Garland (' Civil War,' ' Warfare ') from the 2003 original, '28 Days Later.' Whereas 'Weeks,' made without Boyle's and Garland's involvement, felt like a rehash with poorly motivated actions, 'Years' is carefully thought out and would be vibrant filmmaking even without the previous material.
With actual ideas to explore, well-developed characters and fleshed-out (sorry) performances, scary sequences, and a bite or two of humor, the new movie is one of the best zombie outings in years — maybe the best since the 2016 South Korean thriller ' Train to Busan.'
Unlike 'Busan' and 'Days' (and certainly 'Weeks'), 'Years' is less about body count than it is a character journey that happens to occur in a world infested with mindless former humans striving to dine upon one's flesh. Still, 'Years' boasts one of the more delightfully horrific opening sequences in the genre ('delightful' to zombie fans but likely terrifying to the uninitiated), set during the early days of the outbreak of the 'rage virus' that devastates England in the first film. Then we jump into the new story, which indeed takes place 28 years later.
By this time, England has been declared a permanent quarantine zone, cut off from the rest of the world. A fishing village on a tiny island has survived. In it, bow-wielding 12-year-old Spike (Alfie Williams) prepares for a rite of passage with his father, Jamie (Aaron Taylor-Johnson): his first zombie kill on the mainland. Spike is close to both his parents, but Jamie's relationship with Spike's mother, Isla (Jodie Comer), is strained, as an ailment makes her forgetful, delusional, even paranoid. Those tensions, and a mystery on the mainland, lead Spike to make some well-intentioned, but very dangerous choices.
For those familiar with 'Weeks,' that description could dredge up bad memories. But unlike the annoying kids' foolish actions that drive that sequel's plot, 'Years' contrives a powerful, sympathetic motivation for Spike; we understand this is something he must do.
Garland and Boyle have made a different film than the other two installments, and deserve credit for that. It still has genuinely heart-pounding scenes, while only occasionally resorting to jump scares. They've considered not just how a community might adapt to survive, but how the infected might evolve over time. Those changes are interesting and sometimes surprising, though the heart of the movie is its 12-year-old protagonist's coming-of-age journey.
Garland has cited Ken Loach's classic 'Kes' (1969) as a key influence; that's a tiny indie about an outsider boy finding purpose, not a horror film. And '28 Years' also has something to say about comprehending and coping with loss amid what seems like 'Apocalypse Now'-type insanity.
Boyle employs idiosyncratic filmmaking technique, such as flash inserts to play with time, imply thoughts or feelings, or to foreshadow, and interesting use of sound and score, perhaps inspired by Oscar winner 'The Zone of Interest.' Yet, 'Years' never loses its focus on its young protagonist, or young Williams' performance.
Williams, now 14, had two credits before carrying this film. He delivers a remarkably well-rounded, present performance. He is more than ably supported by Taylor-Johnson as his seemingly perfect warrior-father and the chameleonic Comer, delivering yet another layered, complex turn as his afflicted mother. Then there's the startling appearance of Ralph Fiennes — the less said about what he does in the film, the better, but it's another feather in the all-timer great's cap.
The movie is a complete story, but also sets up the Garland-penned sequel, '28 Years Later: The Bone Temple,' due out next January. A third film, to make a 'Years' trilogy, is in the planning stages. Fans have reason to look forward to more, as this movie reinvigorates the franchise with fresh blood.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Why Danny Boyle shot ‘28 Years Later' on iPhones
Director Danny Boyle famously shot his post-apocalyptic classic '28 Days Later' on Canon digital cameras, making it easier for him to capture eerie scenes of an abandoned London, and giving the movie's fast-moving zombies a terrifying immediacy. To make his decades-later sequel '28 Years Later' (which opened this weekend), Boyle turned to a different piece of consumer tech — the iPhone. Boyle told Wired that by using a rig that could hold 20 iPhone Pro Max cameras, the filmmaking team created 'basically a poor man's bullet time,' capturing the brutal action scenes from a variety of angles. Even when he wasn't using the rig, Boyle (who once directed a biopic of Apple co-founder Steve Jobs) said the iPhone was the movie's 'principal camera,' albeit after disabling settings like automatic focus and adding special accessories. 'Filming with iPhones allowed us to move without huge amounts of equipment,' Boyle said, adding that the team was 'able to move quickly and lightly to areas of the countryside that we wanted to retain their lack of human imprint.' Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data


TechCrunch
3 hours ago
- TechCrunch
Why Danny Boyle shot ‘28 Years Later' with iPhones
In Brief Director Danny Boyle famously shot his post-apocalyptic classic '28 Days Later' on Canon digital cameras, making it easier for him to capture eerie scenes of an abandoned London, and giving the movie's fast-moving zombies a terrifying immediacy. To make his decades-later sequel '28 Years Later' (which opened this weekend), Boyle turned to a different piece of consumer tech — the iPhone. Boyle told Wired that by using a rig that could hold 20 iPhone Pro Max cameras, the filmmaking team created 'basically a poor man's bullet time,' capturing the brutal action scenes from a variety of angles. Even when he wasn't using the rig, Boyle (who once directed a biopic of Apple co-founder Steve Jobs) said the iPhone was the movie's 'principal camera,' albeit after disabling settings like automatic focus and adding special accessories. 'Filming with iPhones allowed us to move without huge amounts of equipment,' Boyle said, adding that the team was 'able to move quickly and lightly to areas of the countryside that we wanted to retain their lack of human imprint.'


Gizmodo
3 hours ago
- Gizmodo
Danny Boyle Explains How '28 Years Later' Got its Creepy Poem
Before 28 Years Later's release, you probably saw its trailers, which featured a recording of man performing a military chant alongside visuals of the film's destroyed world and infected. That would be 'Boots,' a 1903 poem by Jungle Book creator Rudyard Kipling (and performed by Taylor Holmes in 1915) inspired by the monotony of British soldiers marching hundreds of miles in southern Africa. But it's not just in the trailers, it's also in the film when Spike and his dad Jamie leave their isolated community for the infected-filled mainland. Speaking to Variety, director Danny Boyle explained the team wanted something like a song or speech that could 'suggest the culture that the island was teaching its children,' and one that 'looked back to a time when England was great.' Such behavior, he continued, was 'regressive' and 'very much linked to Shakespeare,' in particular the Saint Crispin's Day speech from Henry V, which tells of 'the noble heroic English beating the French with their bows and arrows.' During this search, Sony sent Boyle and writer Alex Garland the first trailer for 28 Years Later, and it was like a lightbulb moment. 'We were like, 'Fucking hell!' It was startling in its power,' he recalled. 'The trailer is very good, but there was something more than that about the recording [and] poem. We tried it in our archive sequence, and it was like it was made for it.' 'Boots' has been previously used by the US military in SERE (Survival, Evasion, Resistance, and Escape) schools, and that's ultimately how it came to 28 Years Later. Megan Barbour, a music director at ad firm Buddha Jones, heard of the recording from a SERE trainee and later sent it to the film's trailer editor. According to Sony's David Fruchbom, that first trailer needed to 'work off the strength of the visuals,' and Buddha ultimately gave them three versions to choose from—of those, the 'Boots' one was 'clearly the way to go.' Audiences would certainly seem to agree, since fans have animated the 28 Years Later or used Holmes' dramatic reading into videos for Star Wars or other films. Boyle called the entire situation a 'reverse osmosis,' saying it 'came into the film and seemed to make sense of so much of what we'd been trying to reach for. […] It's amazing how it still maintains its impact.' Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.