Latest news with #28WeeksLater
Mint
39 minutes ago
- Entertainment
- Mint
What to watch this week: ‘28 Years Later', ‘The Phoenician Scheme' and more
With 28 Days Later (2002) and its sequel, 28 Weeks Later (2007), director Danny Boyle introduced a simple but telling innovation: fast zombies. The cast of the new film includes Ralph Fiennes, Jodie Comer, and Jack O'Connell. (In theatres) A still from 'Elio'. Pixar will be hoping to make a splash with Elio, the story of a young boy who's beamed up into space and become Earth's emissary to other worlds. Directed by Madeline Sharafian, Domee Shi and Adrian Molina. (In theatres) A still from 'The Phoenician Scheme'. Wes Anderson's latest is set in the 1950s and revolves around arms dealer Zsa-Zsa Korda (Benicio Del Toro), who's trying to get in the good graces of his estranged daughter, Sister Liesl (Mia Threapleton). The cast is eclectic: Michael Cera, Tom Hanks, Scarlett Johansson, Benedict Cumberbatch. (In theatres) A still from 'Twin Peaks'.
Perth Now
an hour ago
- Entertainment
- Perth Now
Danny Boyle had a 'nightmare' filming naked zombies for 28 Years Later
Danny Boyle has admitted it was a "nightmare" filming naked zombies for new horror movie 28 Years Later. The moviemaker has stepped back into the director's chair to helm the new horror - written by Alex Garland - 23 years after the pair's first film 28 Days Later hit cinemas and Danny has revealed they needed to take extra care not to have "naked" actors on the set because they had strict rules in place to protect the film's child star Alfie Williams. Speaking to PEOPLE, Danny explained: "I mean, if you're recently infected [with the zombie virus], you'd have some clothes, but if you've been infected for a long time, the clothes would just disintegrate with the way that you behave. "We never knew that [about rules governing nudity on set when there's a child present] going in, it was a nightmare." Danny went on to explain the work-around they came up with, adding: "Interestingly, because there was a 12-year-old boy on set, you're not allowed for anybody to be naked, not really naked, so they look naked, but it's all prosthetics ... "So it's like: 'Oh my God,' so we had to make everybody prosthetic genitals'." Danny revealed he was keen to push boundaries with the elements of nudity and gore in the film and he's glad studio bosses were supportive of his plans. He told Variety: "I think one of the wonderful things about horror is that you're expected to maximize the impact of your story. Everybody wants to do that with a drama, with the romance, whatever. "But with horror, it's obviously gonna be brutal, some of it. What we loved was setting it against an innocence that's represented by the various children in it, and also the landscape, the beauty of the landscape, the nature. "Having those two forces stretches your story as far as you can go, if you maximize them. That was our principle and the studio was supportive of that, of course they were." 28 Years Later is out this month and a fourth film in the series 28 Years Later: The Bone Temple - directed by Nia DaCosta with Danny as a producer - has already been shot ahead of a planned January 2026 launch date. However, the 'Trainspotting' moviemaker hopes to be back in the directing chair if the final movie is given the green light. The series was created by Alex Garland - who wrote the screenplays for all the films except for second instalment 28 Weeks Later - and started with Cillian Murphy's character Jim, who awakes from a coma to discover Britain has been plagued by a terrible pandemic known as the Rage Virus, which turns those affected turn into murderous zombies. Cillian makes a brief appearance in 28 Years Later: The Bone Temple and is due to be given a bigger role in the untitled follow-up, but Alex Garland has revealed there's still no script for the next month. He told Variety: "The script isn't written. It's strange: There's a story, there's a plan, there's a structure ... So short answer: I've got the idea, I've got the plan, but there's not a script. I'm waiting to see what happens, I suppose."
Euronews
an hour ago
- Entertainment
- Euronews
Film of the Week: '28 Years Later' - Bold, brilliant and Brexity
When we left the 28 (pick your time span) Later franchise in 2007, the protocol-breaching actions of two misguided siblings led to the carpetbombing of London's no-longer-safe zone. Kids... What can you do? 28 Weeks Later, Juan Carlos Fresnadillo's surprisingly effective follow up to director Danny Boyle and screenwriter Alex Garland's 2002 zombie genre revitalizing horror experience, ended with a devilish final stinger that had audiences saying 'Et, merde' at the sight of the Rage Virus-infected emerging from a Paris Métro. 18 years later (in the real world) and 28 years later (in the Rage-infested world), Boyle and Garland are back, and they're not keen to simply rest on their laurels. We quickly learn that the terrifying pandemic has been beaten back from mainland Europe (the French presumably shrugged off the infestation and dusted off the guillotines) and that Rage is contained to Blighty. They really can't catch a break... And in many ways, that's the point. While the infected are still out and about, there exists a safe space – an island within an island. Its name is Lindisfarne, aka: Holy Island, and it's in this isolationist community, only connected to the UK mainland via a causeway crossable at low tide, where we meet 12-year-old Spike (newcomer Alfie Williams). His scavenger father Jamie (Aaron Taylor-Johnson) is keen to make a man out of him and so decides to embark on a coming-of-age ritual of sorts: take him inland for the first time in search of his first kill. As Spike's bedbound and mysteriously sick mother Isla (Jodie Comer) foretells in a fit of expletives, it's a really dumb idea... 28 Years Later doesn't look or feel like 28 Days Later. Or 28 Weeks Later, for that matter. So those wanting more of the same may end up disappointed. Ditching the lo-fi, punk rawness of the first brush with sprinting nightmare fuel and the equally lean-and-mean feel of the second, 28 Years Later is crisper and more expensive-looking. While that may frustrate some audiences, what's clear is that Boyle and Garland didn't come back to simply cash in and play it safe. It couldn't be any other way. 28 Days Later breathed new life into a horror mainstay by having the sprinting Rage-infected replacing traditional reanimated corpses. More than two decades later, zombies have invaded the screens and become ubiquitous – to the point of exhaustion. From the big screen offerings of the Rec franchise, Shaun of the Dead, Zombieland and Planet Terror (to mention only the high points) to the zeitgeist-capturing small screen hits The Walking Dead and The Last Of Us, civilisation-threatening outbreaks featuring ravenous walkers, crawlers and biters have become mainstream. The only way was forward. And a lot has happened since 2007's 28 Weeks Later – namely Brexit and a worldwide pandemic. Both of these resonate in 28 Years Later, especially the self-inflicted isolationist wound. The nationalist and seclusionist subtext becomes text: Saint George's Cross flying above the community; the banner reading 'Fail we may but go we must'; the sea patrol keeping the infection contained to the UK; the 'us' and 'them'-ness of looking backwards to a past of the England that once was... It all makes for a simple but effective Brexit analogy. It's not particularly subtle; but then again, no allegory-infused zombie movie ever was. And neither was Brexit. The obviousness of certain thematical strands is countered by some far more surprising choices, like the teasing-and-ditching of The Wicker Man motifs and the Summerisle setting in favour of exploring the evolution of the infected. Of course, the introduction of various kinds of berserkers ('slow-lows' or the terrifying 'Alphas' with Predator penchants for spine-yanking) will lead to inescapable comparisons with The Last Of Us. But the script does enough to explore the potential of its ideas without toppling into déjà vu – particularly when one initially grating yet radical element is introduced... Then there are unpredictably profound moments in the second half of the film, culminating in the Memento Mori / Memento Amori dichotomy, which is brilliantly delivered by the show's last act MVP Dr. Kelson, played to perfection by Ralph Fiennes. His scenes with Spike have an emotional resonance that elevates the material and make it hard to fathom how Alfie Williams is so accomplished for a first-time actor. We'll hopefully be seeing both Boy Meets World and the iodine-covered Colonel Kurtz again soon, as 28 Years Later was filmed back-to-back with the first sequel in a planned new trilogy, titled 28 Years Later: The Bone Temple, which is slated to hit theaters in January 2026. Let's pray Young Fathers return too, as their terrific soundtrack is not worth ignoring. From the Teletubbies opening to a heroically bizarre finale which scoffers will likely liken to The Village, via a three-act structure that makes a young hero's odyssey evolve from a father-son adventure to a mother-son rescue mission to a young father figure spreading his wings, 28 Years Later's strange verve is exhilarating. While there are some pacing issues, as well as surplus to requirement CGI moments involving swarms of birds and deer, Boyle and Garland have truly outdone themselves. Without skimping on the edge-of-your-seat tension and gruesome viscera that made the first two instalments so pant-browningly effective, their belated sequel is a radical revival that eschews the obvious at every turn. It may not satisfy everyone, but give us daring over safe any day / week / year of the Rage pandemic. 28 Years Later is out in cinemas now. "Wake up, wake up" is the chorus of the Felix Flavour music that Jeny BSG choreographed for the Dance4Refugees campaign on Instagram and at the Bozar arts venue in Brussels. It's also the call to action for people everywhere to speak out and show their support for refugees. "Everyone needs to wake up. It's time to talk about it, it's time to help, it's time to react. We can't stay silent, we have to speak out for the oppressed and that's what I'm doing," she told Euronews. Jenybsg (@jenybsg)'in paylaştığı bir gönderi The social media campaign challenges people to post their versions of the choreography on Instagram and donate funds. It is aimed primarily at young people, who Jeny works with at her dance school and when she travels abroad. 'I try to reach out to the younger generation because for me they are the change, they can make a difference in this world. Dance was, for me, a great way to bring attention and change the narrative, to celebrate the strength, potential and resilience of refugees,' Jeny said. The dancer and choreographer was born in Belgium, where her family sought refuge from the decades-long conflict in the Democratic Republic of Congo (DRC). A background that left its mark on the artist and led her to activism in collaboration with the UN High Commissioner for Refugees (UNHCR). "My family fled violence in the 1990s. My elder brothers spent time in a refugee camp. My mother and my father have experienced displacement, violence, fear, struggle", she recalls. More than 6.9 million people are internally displaced across the DRC, with an additional one million refugees and asylum-seekers in neighbouring countries, according to the UNHCR. This 'legacy' brought additional self-imposed responsibilities for Jeny, who set herself the task of 'not failing' and being a voice for the Congolese diaspora: 'Today I am living proof that the origin of refugees does not define the limits of refugees, but rather their strengths.' Jeny uses her platform to promote marginalized voices, having founded the AfroHouseBelgium, a Brussels-based dance school. She's also been working with the UNHCR since last year to amplify the stories of those forced to flee. "Dance is universal and the refugee cause today is also universal. We know that refugees come from all around the world: Ukraine, Afghanistan, Syria, DRC and other countries. But they are not only statistics or numbers. Their lives matter, and they are like us", she says. The UN says there are currently 123 million forcibly displaced people worldwide, twice more than a decade ago. Almost 37 million of them are refugees. The organisation warns that recent drastic cuts in humanitarian aid funding are putting their lives at risk. Funding for the agency is now roughly at the same level as a decade ago, said Filippo Grandi, UN High Commissioner for Refugees, at the launch of the annual Global Trends Report on 12 June. 'We are living in a time of intense volatility in international relations, with modern warfare creating a fragile, harrowing landscape marked by acute human suffering", Grandi highlighted. The report found that, contrary to widespread perceptions in wealthier regions, 67 per cent of refugees stay in neighbouring countries, with low and middle-income countries hosting 73 per cent of the world's refugees.
RTÉ News
7 hours ago
- Entertainment
- RTÉ News
Glory and gory be! 28 Years Later is
Danny Boyle and Alex Garland mix the gory with political allegory and a touching family drama in this riveting zombie thriller After great early promise in 2002 with 28 Days Later, Danny Boyle's zombie franchise looked like it was going to reanimate a moribund movie cliché but it all stumbled and shuddered to an ignoble halt with the delayed and frankly awful follow-up 28 Weeks Later. Now prefaced by much "is he/isn't he?" speculation about whether Cillian Murphy would reprise his role from the first movie (he isn't), Boyle is back at his maverick best with this deeply creepy return to form which reignites the twitchy paranoia and dread of the original. And glory and gory be - writer Alex Garland, and cinematographer Anthony Dod Mantle also return, as does Murphy but as executive producer and not having taken his Oppenheimer diet to extremes to play a member of the emaciated massive. They have conjured up a fever dream of a film that somehow looks like a cross pollination of Mike Leigh realism, and the sickening surrealism of Straw Dogs and The Wicker Man. We are now on Holy Island off the northeast coast of England, 28 years after the accidental release of a highly contagious virus which caused the breakdown of society and turned infected folk into slavering maniacs with The Rage. Perfidious Albion is now in a state of not so splendid isolation and in quarantine patrolled by European vessels. Garland and Boyle do not hold back on gleeful commentary about the contemporary UK's perilous state, cut-off politically and culturally from the continent and muddling along with a sense of misplaced exceptionalism and proud independence. This post-apocalyptic vision of ye olde merrie future England comes shot through with the look and feel of the fabled lost 1950s Britain beloved of Reform voters and Brexiteers. So political allegory and gore is the order of the day; In the island's village hall a tapestry of a young Queen Elizabeth II in her coronation year takes pride of place and Boyle uses clips from Laurence Olivier's Henry V and wartime newsreel footage of the Blitz to underline the fortress Britain atmosphere. Later, we see the flag of St George in flames. Bow and arrows are the weapon of choice; everyone is dressed in ragamuffin chic and the island looks like it's devolved back to medieval England. Or maybe Féile '90. Wrapped in that grim tableau is a touching family drama concerning 12-year-old Spike (a very impressive Alfie Williams) and his parents, Isla (Jodie Comer - great as usual), who is suffering from a mysterious illness that causes huge trauma and grief for her doting son, and Jamie (Aaron Taylor-Johnson), a scavenger and survivalist given to flashes of his own type of rage. We first meet Spike on what will be a big day for him. He is about to be taken across the causeway that connects the island to the still contaminated mainland on his first sortie among the infected; a rite of passage that will test his mettle and see him take his place within the village hierarchy. Once across the causeway, the action clicks with an unforgiving ferocity and father and son barely make it home after a gripping moonlit dash back across the causeway as the tide goes out. As we have seen from the first two movies in the series, these zombies are not the shambling husks of B-movie lore but fleet of foot savages who pose a genuine threat. However, Garland and Boyle also introduce two new breeds of zombie - obese, sluggish creatures who forage about on the forest floor and have a nasty talent for creeping up on their prey, and Alphas, muscular pack leaders who take a lot to kill. When Spike hears about the mysterious Dr Kelson (Ralph Fiennes), an eccentric former GP who has remained uninfected and choses to live on the mainland, he sees him as a salvation for his sick mother and so he spirits her back across to the mainland much to the anger of the island's elders and his stricken father. Once we are back off the island, the movie takes on a semi-mystical air with impressionistic riddles and symbols and spiritual ceremony surrounding Dr Kelson. He is clearly the Col Kurtz of the piece, a shamanic witch doctor of sorts, who tends to his very own bone orchard and has his own way of dealing with the infected marauders. The sense of loss is everywhere. There are haunting and very moving glimpses of Anthony Gormley's Angel of the North sculpture rearing starkly from the landscape like the Statue Of Liberty in The Planet of The Apes and a very poignant shot of the now felled tree in the Sycamore Gap at Hadrian's Wall. A brief appearance by Edvin Ryding as a sardonic Swedish NATO soldier, who has been shipwrecked off the coast, adds another dose of dark humour to a movie which is surprisingly funny as well as disturbing. Scottish band Young Fathers provide a pumping but abstract soundtrack for what is a multi-layered, poetic and lyrical movie but with plenty of the comic book gore beloved of fans of the franchise. Arrows fly and slice through zombie flesh and that mad dash across the causeway is exhilarating. Full of strange images and taut action scenes, Boyle has said he wanted a sense of "suffocating intensity" to the film and he really does achieve it The bravado closing sequence, which strangely reminded me of some groovy sixties rock `n' roll flick starring Oliver Reed, includes a crowd-pleasing cameo and sets things up smoothly for the next instalment. If it's as good as this acrid, kerosene-choked thrill ride, we're in for another treat.
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First Post
11 hours ago
- Entertainment
- First Post
28 Years Later movie review: Danny Boyle's horror zombie sequel is scary, tender & pulse-pounding
28 Years Later is directed by Danny Boyle and written by Alex Garland read more Star cast: Jodie Comer, Aaron Taylor-Johnson, Jack O'Connell, Alfie Williams, Ralph Fiennes Director: Danny Boyle Director Danny Boyle and screenwriter Alex Garland took us on a terrifying ride in 2002 with 28 Days Later, which is still considered one of the best horror movies of the 21st century. The third instalment of the trilogy, titled 28 Years Later, skips the events of Juan Carlos Fresnadillo's 2007 sequel, 28 Weeks Later, by taking a dig at British isolationism. STORY CONTINUES BELOW THIS AD The plot starts with a bunch of small and young kids watching a Teletubbies episode and trying to avoid the noise of adults from another room, who are becoming prey to flash-eating zombies. One of the kids, named Jimmy, who tries to see what's happening through the door, manages to escape after her aunt, who is attacked by one of the zombies, tells him to run. He reaches one of the nearby churches, where Jimmy is revealed to be the son of a preacher man. He passes his crucifix to Jimmy and tells him to always keep it with him before calling the deathly mob to the 'Day of Judgment.' Now, 28 Years Later, we see a land mass off the northeast coast of England, which is separated from the mainland (residence of zombies) by a causeway, which can be accessed only during a low tide. A kid named Spike lives there with his parents, Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer), with the latter suffering from an illness, which gives her pain and lucidity. The land is untouched by modern civilisation and development due to its association with zombies, and hence, there are no doctors who can check up on Isla. STORY CONTINUES BELOW THIS AD This land is home to a tight-knit community, where people are into designated professions like a farmer, hunter, fisherman, forager, baker and others. Despite being quite young, Spike gets confidence from Jamie to be confident and skilled in archery to get his first kill of the infected on the mainland. As the father-son duo reach there Rating: 3.5 (out of 5 stars) 28 Years Later is playing in cinemas
