28 Years Later Review

Zombies are cool again

With the general public's prolonged lull in recent years for zombie media outside of maybe Train to Busan (2016), I'm pleased to say that 28 Years Later quenches the blood thirst many have been craving from the genre. Director Danny Boyle and writer Alex Garland (the boys!) are back together to deliver a visual treat for the eyes, throwing at us some wild camerawork, a touching story, and some batshit ideas that I was so impressed they took these significant swings for a mainstream Hollywood film. Boyle's wild visual language is all over this, which may jerk wildly with tone or direction, but all of it feels so authentic to this director and the series. Jodie Comer is the heart and soul of this tale but is supported by delightful performances from Ralph Fiennes, and Aaron Taylor Johnson didn't piss me off! It is a wonderfully thrilling outing that's not just about the action but also about the emotional depth of the characters, making it a film that's sentimental, surprisingly hilarious, if not goofy, and full of bloody goodness for all to enjoy. Also, there are lots of massive dongs if anyone is interested!

As the title states, 28 Years Later takes place many years after the original film, when the UK has been isolated with the original Rage virus infection, a deadly and fast-acting virus that turns its victims into aggressive and bloodthirsty creatures, to fend for themselves. A small fortified village living on an island travels to the mainland to seek supplies. Jaimie (Aaron Taylor-Johnson) and his 12-year-old son Spike (Alfie Williams) travel to the mainland but are attacked by the infected. They luckily survive an Alpha-infected attack on their race's home, but Spike discovers a doctor (Ralph Fiennes) on the mainland who could help save his ill mother, Isla (Jodie Comer). Spike sneaks off the island with Isla to seek out this doctor while encountering Swedish special forces, a bizarre doctor, and a terrifying Alpha infected.

First and foremost, Danny Boyle goes God-mode behind the camera with his direction here. The action setpieces are wild, especially with the arrow combat between the infected with Aaron Taylor-Johnson and Alfie Williams. The camera cuts and goes to extremely cool angles when the arrows hit headshots that I've never seen done in film in such flashy and exciting ways. Boyle's visual storytelling is incredible. When, in a dash to return home from the initial expedition of Johnson and Williams, it looks like the universe is sitting behind them, making my eyes widen with delight. Later, in one of the most heartbreaking and touching moments, fires swirling in circles around skull monuments are mesmerizing. These are just some of the most beautiful cinematographies of the 2020s. Boyle is intercutting footage from medieval archers to World War 2 boots on the ground while never feeling out of place tonally to what the themes and vibe of the film are trying to capture, which is daring and remarkable! The infected are faster than ever, and the way we close in on some of their faces during these chases and feel the kinetic energy and presence they are giving off as threats is so palpable on screen. The sound design here is also top-notch, where the crunch and movement of the world felt so alive and disturbing.

Jodie Comer, just wow. She is the standout performance as a woman so frustrated by her condition but imbued with so much love that she had my heart just aching profusely by the end of the film. Ralph Fiennes is a delightful freak here as the doctor, who brings a nice energy to the film later on, but that's also comforting about death. Alfie Williams holds his own and has grown into this badass scavenger. I now have to eat crow. Aaron Taylor-Johnson was quite good in this. As a normal hater of his acting, he had this unmistakable charm and wit to him as Williams's father, who carried himself like a true warrior who felt held back by his wife's condition. Shout out to all the infected actors as well, especially the Alpha and his wife; they are all going all out naked, running in horrifying manners that will have you freaking the fuck out.

I have to eat crow once again because Alex Garland, you crafted a fantastic story here that's sentimental, goofy, and honestly bizarrely batshit that I loved. I was not a fan of Garland's Men or Civil War; I enjoy Warfare quite a bit, but he's outdone himself here. There are some wild choices here regarding lore implications and tonal jumps where, at times, the film becomes a comedy and swings back to action horror and then a mother/son drama that somehow all works. These narrative choices keep the story fresh and unpredictable, adding layers of depth and emotion to the characters and their journey. A look at the old and the new ways and how we must continue. It feels like back-to-basics for Garland, and getting back with Boyle feels like both were locked in together to tell the story they wanted to. You can feel the influences of, say, The Last of Us and The Forest video games, but all still think in the world of 28 Days Later visually and mix in that digital feel that we all came to love from the original.

28 Years Later rips. It's a thrill ride with heart and laughs that I did not expect. An incredible cast, insane direction, camerawork by Boyle, and a solid script by Garland lead it. A new visual language will be built out of this, which could be good or bad depending on who's behind the wheel, but I can't wait for more in this series. I need the soundtrack and score on vinyl for sure. And yes, I loved the insane ending. I don't care.

Final Score: 8.5/10

Written by Kevin J. Pettit