'28 Years Later': A Bold, Surprisingly Moving Horror Sequel

Danny Boyle’s 2002 film 28 Days Later was instrumental in kicking off a revival of zombies in media, utilizing fast-moving zombies and a character-driven method of storytelling. Its influence reached a fever pitch in the 2010s, but the genre has waned in popularity in recent years. In the years since, Danny Boyle has seen some similar peaks and valleys in his career. While he would go on to win an Oscar for directing Slumdog Millionaire and receive critical acclaim for his work throughout the rest of the 2000s and into the early 2010s, the past several years have been a bit of a fallow period for him. While his previous film, Yesterday did well at the box office, it received mixed reviews with many, including myself, considering it a low point in his filmography. It has been 6 years since that film, and Boyle has kept a bit of a low profile during this time. It has felt like Boyle has been in Director Jail over the past several years, and fans of his work have been waiting for him to break out of it.

Thankfully, he does just that with 28 Years Later, the third film in the 28 Days Later series. One might think that going back to one of your big successes late in your career is a desperate move, but it is clear that Boyle is coming back to the series because he is passionate about it. This isn’t a cash grab or a pandering legasequel, but a strong continuation of what he and screenwriter Alex Garland started back in 2002 that also manages to stand on its own rather well. Not only that, it also takes some risks that largely pay off, making it one of the boldest films of the year. It is intense, visceral, and far more emotional than one might expect, opening the door to an exciting future for the series while also breathing new life into both the zombie film genre and Boyle’s career. 

28 years after the outbreak of a disease known as the Rage Virus infected Great Britain, the British Isles remain under quarantine. On one of these islands, a community of survivors have developed a new society that is heavily fortified against those who have been infected with the virus. One of the survivors, Jamie (Aaron Taylor-Johnson) prepares to take his 12 year old son, Spike (Alfie Williams) out for a rite of passage that involves traveling to the mainland via a causeway and hunting the infected. Spike is nervous about this, and is also concerned about his mother, Isla (Jamie Comer), who is suffering from an unknown illness. When Spike discovers that there is a doctor living on the mainland who can possibly help Isla, he secretly ventures out to find him. With his mother in tow, Spike treks across an unfamiliar land and faces off against the infected, all while learning some hard truths about life and death in the process.

Both Alex Garland and Danny Boyle are people who have works I really like and works I don’t care for as much. However, I think the two tend to work extremely well together, as they seem to find a good medium between each other’s styles. Garland is a darker, more cynical filmmaker, while Boyle tends to be more optimistic and emotional. These aspects are double edged swords for both of them, as it is often beneficial to their respective films, but can sometimes hurt them as well. But when they collaborate, their sensibilities fuse together in a way that allows Garland’s bleaker point of view to come through, while still keeping Boyle’s heartfeltness present. They always find a good balance that keeps their films from feeling too dark or too sugary, and this is especially true for 28 Years Later.

Much like the original film, 28 Years Later features heavy violence, compelling characters, and some interesting commentary on British society. It has admittedly been a bit since I watched the other two films in the series, but that’s okay because the film tells a rather self-contained story. There are slight references to the earlier films and the ending does set up an upcoming sequel that is coming out next January, but it mainly works as its own story. The film does have the same level of violence as the original, which is to be expected. There is plenty of blood and zombie attacks and people getting their spinal columns ripped out, but I found myself connecting to this film a bit deeper than the other two in the series. It could be because the film is largely about the relationship between a boy and his mom and stories like that hit pretty close to home for me, but I also think it is because the film gives the characters a bit more depth and it isn’t afraid to wear its heart on its sleeve a bit more than its predecessors. The third act is a bit of a respite from the blood and brutality, and it honestly probably shouldn’t work nearly as well as it does. But with the power of Boyle and Garland, it ends up being powerful and even got me a little choked up. Make no mistake, the film is still quite unnerving and violent, but it is the heart that shines through more and more as it goes on that really surprised me.

Beyond that, the film has interesting thoughts on masculinity in society, as we see how the community of survivors has reverted a bit to a more traditional view on gender, at least when it comes to men. We also see how this can come from familial relationships through the dynamic of Jamie and Spike. One shot in the film illustrates this efficiently, where Jamie storms off after a tense moment between Spike and Isla and punches a wall before the camera pans over to Spike’s hand holding a knife that Jamie gave him. The film doesn’t necessarily go into this any further, but it is a great small moment that plays beautifully into its statements on masculinity and cycles of toxicity both in society and families. We also see this in a couple of montages early in the film that feature film clips intercut with footage of characters preparing to battle zombies, showing the role that media has on proliferating some of these ideals. At a time where Alpha Male podcasts and toxic masculinity is on the rise, the film lightly interrogates where this comes from and posits that it may be more inherent in our society than we realize. It is a rather sad outlook, but one that has some serious truth to it, and is incorporated into the film effortlessly and effectively.

The film takes on a unique structure, as the narrative seemingly morphs over the run time. The first act is more stylish and violent, introducing us to the community of survivors and offering up some social commentary. The second act feels almost like a combination of a road movie and a zombie flick, with some added drama coming from Spike trying to save his mom. The third act is more meditative, and presents some melancholy musings on life and death. This all might sound messy, and I guess it is to an extent, but it still flows together rather well, giving the film a strange fluidity that may divide viewers. It worked extremely well for me, but I can see others taking issue with it. 

The original 28 Days Later is notable for partially being shot using digital cameras. This gives the film a gritty, unpolished look that is easy to write off as being low quality, but it is used effectively in the finished product. Jump ahead to 28 Years Later where digital photography has become the norm, and most people have access to a high quality camera via their smartphones. Anthony Dod Mantle, who lensed both of these films, adapts the choice he made to shoot with a digital camera on 28 Days Later by using iPhones to shoot 28 Years Later. In some moments, this gives off the same uneasy vibe that the original film does, but what is seriously impressive is that it ends up looking better than a majority of big studio films. The colors pop, the shots are well composed, and the techniques that Dod Mantle uses to capture the action sequences make the film all the more visceral. It is unorthodox, sure, but it is some of the most electrifying camera work I’ve seen in a long time. 

Working in tandem with Dod Mantle’s cinematography is Jon Harris’s editing, which heightens the intense energy of the film. Harris utilizes quick cuts that help set up the world that the survivors live in, and also helps dispense some of the film’s deeper implications. For instance, the scene where Jamie and Spike are about to venture over to the mainland is intercut with old military footage and a reading of Rudyard Kipling’s poem “Boots” that dates back over a century. This scene is one of the most powerful moments of the film, putting the audience in an unnerved state of mind and touching on the film’s attitudes toward masculinity. Harris’s editing is also instrumental in raising the tension in later scenes, as well as enhancing the emotionality of the film’s sadder moments. Harris and Dod Mantle are so integral to the film working as well as it does, and put forth some of their best work here.

The original film used a striking original score from John Murphy as well as a soundtrack of instrumentals from other established artists. This film sees Scottish trio Young Fathers take the composer’s seat, and they knock it out of the park. The score is tremendous, offering up tracks that are discomforting, beautiful, and infectious. It fits the film so perfectly, and blew me away countless times throughout the runtime. Boyle has a great track record with scores and soundtracks, and this film keeps that streak going strong here. I would go as far as saying that this score is among the best of any of his works, and is one of the strongest film composing debuts of all-time.

While some might be expecting Cillian Murphy to return for this film, he doesn’t appear on screen at all, only receiving an executive producer credit on the film. However, Danny Boyle has confirmed that he will be returning for the sequels. Despite his absence, the film gives us some compelling characters to follow. Alfie Williams essentially is the lead of this film, and is rather astounding considering that this is his film debut. He feels so genuine, which makes it so easy to feel for him throughout the film. It is as if we are actually seeing a child trying to survive in harsh circumstances, which only makes everything feel more tense. It is a smart choice from Boyle to let Williams feel like a normal kid in abnormal situations, as it allows Williams to give a great performance while also strengthening the film as a whole. 

Jodie Comer has long been a performer that I’ve enjoyed, and she is quite good here. There are few actors that are making bold choices like she does, and it is exciting to see. As Isla, Spike’s ailing mother, she does come on pretty strong at times, but it mostly fits in with the rest of the film. It took me a bit to get on her character’s wavelength, but once I did, I was able to really connect with the performance. It is a bit showy, especially in the earlier sections of the film, but Comer becomes more vulnerable over time and she goes to some fascinating places with the character. Aaron Taylor-Johnson is a bit more reined in than I was expecting him to be, as he is usually a rather physical and expressive performer. I really appreciated him taking a quieter approach to the character of Jamie, as it makes us question him a bit. It also helps him build up to a moment where he gets to release his pent-up energy, which is effectively used in the context of the film. 

The true MVP of the film has to be Ralph Fiennes, who shows up in the third act and runs away with the whole film. He plays Dr. Kelson, a man living on the mainland among the infected. Fiennes is used perfectly here, as the film gives him a disconcerting appearance but sees him being rather gentle. He balances lightness and darkness incredibly well in his performance, allowing him to say some heavy things without it feeling overbearing. Much like a good doctor, he has an excellent bedside manner that permeates his performance, making it rather potent and moving. It is masterful work from Fiennes, and he leaves a major impact on the film as a whole.

28 Years Later is bound to divide and most may not be as high on it as I am, but it is hard to deny how fascinating and bold it is. Personally, I’m all for a film that takes chances and does cool visual things so those aspects alone worked well for me, but the fact that it touches on rich emotional and social themes helps take it to the next level. It is hands down the best film Danny Boyle has directed in years, and it is a great reminder of how strange and inventive he can be. I am very excited to see where the series goes in the next two films, especially since the film ends on a note that sets up some interesting territory to explore. 28 Years Later is just as great, if not better, than the original film, and is one of the best zombie movies of the past several years.

Rating: 4.5/5