Much like the Rage Virus has evolved in the infected, Danny Boyle and Alex Garland have taken this franchise through its own evolution. 28 Years Later is a massive departure from the simplicity of the first film, more audacious in its technical craft, world-building and storytelling. It’s constantly swinging for the fences, which can be polarizing, but you can’t deny its ambition.
This story picks up nearly three decades after the outbreak, and the British Isles have been severed from the rest of the world. Life has a very different look for those who’ve survived, and the virus itself has undergone significant changes as well. There’s still plenty of fast-paced, heart-pounding zombie action, but it’s everything else going on amidst the chaos that takes the film in bold new directions. The standard zombie framework is shaken up in unexpected ways, making this feel more like a spiritual sequel than a direct continuation. It springboards off the original’s more basic ideas, allowing it to function as its own, very different beast.
First and foremost, there is a surprising amount of heart and emotional depth with the story and characters. 28 Days Later was a zombie flick first and a drama second. This is kind of the opposite. Whether this movie will resonate with you greatly depends on how much you care for its central family. I found all three of them to be very well written - beautifully flawed and deeply human. Garland’s script explores unique ideas and profound themes - even diving into the infected’s evolved behaviors in fresh ways. Some creative choices will certainly divide audiences. At times, I wasn’t sure if I loved or hated what I was seeing, but I always appreciated its boldness. This isn’t just more of the same, and I admire that greatly.
The film is equally bold on a technical front, with some of Boyle’s most creative direction to date. From experimental “kill cam” shots to utilizing the iPhone 15 Pro’s wide lensing, Danny Boyle’s visual storytelling is as kinetic as ever. A lot of his direction here harkens back to a style we saw a ton of in the early 2000’s. it feels edgy and in-your-face, with plenty of quick cuts and dutch angles to boot. I sometimes yearned for Garland’s directorial stillness (especially the way he captures greenery and nature) over Boyle’s high-octane style, but that’s a small nitpick in an otherwise impressively shot movie.
The adult actors all deliver expectedly strong performances, matching their impressively developed characters. Aaron Taylor-Johnson does a wonderful job in his flawed but nurturing role as a father. Jodie Comer gives a heartbreaking turn as a mother losing herself and her family. The trailers marketed Ralph Fiennes’ character in a very different way than he ends up being in the movie. I really appreciated that there was a lot more to him than the stereotypical psychotic villain I thought we’d be getting. It’s 14 year old Alfie Williams who delivers the most outstanding performance, though. Even more impressive is this being his big screen debut.
28 Years Later isn’t content with retreading old ground. Even when Boyle and Garland stumble over their own audacious ambition, it’s in pursuit of something new - a reinvention of what audiences expected, or even wanted from this sequel. In a franchise landscape that often rewards repetition, that alone is worth celebrating.
3.5/5
Review by: Benjamin Garrett