28 Years Later review: A more reflective, human story that puts the franchise back on track

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A star rating of 3 out of 5.

In 2002, director Danny Boyle and screenwriter Alex Garland were almost prophetically praised for significantly reimagining the concept of a zombie film.

Instead of lumbering enemies as seen in the past, the undead from 28 Days Later have an unexpected agility, moving swiftly like top-tier Olympian runners, and they trail bloody vomit as they go.

28 Weeks Later, released in 2007, seemed to have slowed down the momentum of the franchise, as indicated by its relatively cool response. This tepid reception might be one reason why it took so much time for a third installment in the series to be produced and launched.

In their upcoming movie, directors Boyle and Garland take control again, offering insights into the long-term consequences of a world devastated – essentially, sharing their unique perspective on an apocalyptic scenario.

The progression of time, from a storytelling perspective, plays a vital role in our narrative as it takes us to a future mainland United Kingdom that has been quarantined for nearly three decades. This isolated land sees its coastal waters being monitored by foreign forces, with the purpose of keeping at bay the infected individuals (and their offspring) who are not allowed to leave.

On Holy Island situated along the coast of Northumbria, a tight-knit, healthy community carries out daily tasks to rebuild their functioning society. This group includes Jamie, Isla (played by Aaron Taylor-Johnson and Jodie Comer respectively), a 30-something couple, along with their 12-year-old child Spike (Alfie Williams).

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Currently, there’s an exciting rush of new movies captivating the UK audience, with titles like “Wicked,” “Nosferatu,” “The Brutalist,” and even a sequel to “Moana” causing quite a stir in our cinemas.

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In this gripping tale, I embarked on a forbidden journey with my father to a mainland once familiar, now transformed into a complex ecosystem inhabited by the survivors of a cataclysmic biological disaster. The inhabitants have evolved into distinct tiers – sluggish, overweight beings who subsist on earthworms, swift hunters preying upon deer herds, and the most formidable, the ‘alphas,’ whose extraordinary strength fuels their ruthless, violent nature. This cinematic adventure offers a chilling glimpse into our world’s potential future.

On his inaugural voyage, Spike’s journey serves as an initiation rite. Upon his safe return, the locals celebrate exuberantly with a boisterous party that echoes ancient pagan traditions. They enthusiastically join in singing traditional 19th-century Geordie songs like The Blaydon Races, and surprisingly, they also play Tom Jones’ hit Delilah.

Despite his youthful exuberance, the nearly-teenage boy is growing more and more troubled, primarily due to his mother’s deteriorating health. Rumors of an odd, untouched physician residing on the mainland have reached him, so he decides to return there with her, hoping to find a miraculous cure for her affliction.

Garland’s script seems slightly uneven in pacing, with the initial act appearing longer than necessary as a prelude to the main events that unfold in the second act. The script’s usual post-apocalyptic journey elements are present, but they seem more like a specific mission rather than the norm.

As soon as the previously mentioned doctor (a man who is equally eccentric and captivating, similar to Ralph Fiennes) joins the action, there’s a stronger feeling that mythology is being created from the initial disastrous events. It seems as if the land is evolving to face an uncertain future while also honoring its past.

In a manner of speaking, a unique perspective arises, as viewed by Alfie, the young survivor after the outbreak. For him, the internet, smartphones, and selfies appear as bewitching enchantments (the movie elicits amusing, lighthearted chuckles in response).

It’s quite a significant responsibility to rest on Williams’s youthful shoulders, yet he consistently delivers a phenomenal, multidimensional performance that often outshines his more acclaimed peers on screen.

Taylor-Johnson radiates self-assured bravado, acting as a confident breadwinner for his family, possibly taking pleasure in his position within the repair community’s pecking order; meanwhile, Comer delicately tugs at our emotions as the tormented Isla, who fluctuates between clarity and confusion while being haunted by poignant recollections of joyful moments before the pandemic.

The outcome offers a deeply flavorful, emotionally nourishing soup that serves its viewers a more introspective, genuinely human tale than previously, while still catering to the cravings of fans who joined for the thrills and grisly scenes. However, it’s important to note that the violence is artfully, powerfully, skillfully arranged; yet, an overuse of quick cuts and sudden pauses might create some annoyance.

Despite any disagreements, Boyle and Garland skillfully steered the franchise back on course in an impressive manner, and they have outlined their strategies for upcoming installments. Following its production, “28 Years Later: The Bone Temple” was filmed straight away and is slated to hit theaters in early 2026.

In these final moments, there’s a hint at what we can expect in the upcoming movie, and it seems to propose a completely new set of circumstances compared to what we’ve witnessed thus far.

This event appears to be a lively and engaging spectacle (without revealing any secrets), one that might excite or frustrate fans, yet it’s comforting to witness two incredibly talented directors enjoying the chance to explore new creative possibilities.

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2025-06-19 14:09