'28 Years Later' review: Danny Boyle's horror sequel runs towards infectious emotion

SF Studios

I'm hearing that zombie flicks are all the rage once again. To confirm such rumours, let's dig into 28 Years Later (or, alternatively, 28 Years Later..., according to the title card), the third instalment in the '28 Days Later' franchise and a sequel to the 2002 film and 2007's '28 Weeks Later'. The United Kingdom and its surviving residents are still under quarantine as the rage virus has been contained only to that region after a further outbreak. On a small island near the coast, there's a small village community maintaining a very skewed version of normalcy as the mainland now has different variants of the "infected" (read: zombies).

We follow a family of three: tween boy Spike (Alfie Williams), his ailing, bedridden mom Isla (Jodie Comer) and dad Jamie (Aaron Taylor-Johnson). Jamie takes Spike on his first survival trip into the wild where Jamie teaches him to identify variants and how to kill or escape from them. After barely making their way back to the village when the fiercest variant chases them, and Spike learning about a reclusive doctor living in the mainland and discovering Jamie's missteps that disregard Isla's declining health, Spike decides to take Isla to this doctor, named Kelson (Ralph Fiennes), in the hope that she'll get the treatment she needs.

All of the energy and frenzy that has made the original film in the series resonate since its release is still very much present in this latest entry, undoubtedly thanks to the return of director Danny Boyle and screenwriter Alex Garland who are helming the vision. The events of '28 Weeks Later' are wrapped up in a version of "previously on" text before the title card hits and we're off to catch up with the outbreak's evolution. But it's the approach that is somewhat unpredictable as the filmmakers are infusing the post-apocalyptic horror you expect with hints of coming-of-age elements, dark comedy, tragedy and family drama. This extraordinary situation, which we mostly see unfold from Spike's perspective, allows topics like expectations regarding one's masculinity, being willing to sacrifice everything for your loved one and acceptance of death to emerge out of the shadows created by a zombie apocalypse.

With that perspective leading the charge, much of the success depends on the earnestness in the family dynamic and the work of the performers. Rather surprisingly, that might be the movie's strongest asset. Newcomer Williams oscillates finely between childlike pluck and trying to assert himself as more mature than he might actually be; Taylor-Johnson portrays Jamie's false image of masculinity in a way that is very believable, even reflecting some of the shifts happening in our world currently when it comes to influencing boys; and Comer is clearly willing to lose every bit of her vanity (we'll touch on that momentarily) whilst taking a role that seems thankless during the first 30 minutes, before turning it into an extremely vulnerable, loving and heartrending showcase in the second half when Garland's writing starts to give her more opportunities. Comer and Williams are outstanding together, and they give the film its heartbeat.

Fiennes also feels real in this decayed setting since there is more than meets the eye as far as his presence and character go, helping to bolster the immersion of this world. Casting directors Gail Stevens and Rebecca Farhall have certainly succeeded in their jobs since even a smaller part like Edvin Ryding as Erik, a Swedish soldier stranded alone in Great Britain after his surveillance unit was attacked by the infected, is necessary and effective, providing a splash of dark humour when the movie's self-seriousness could have become tiresome (Jamie definitely isn't one to drop knee-slappers).

Part of that immersion and wonderful acting is supported by the technical craft on display, including hair and makeup design (overseen by Flora Moody), which features unglamorous yet fitting looks like Comer's deterioration (making her look at least a bit unattractive must be hard), different FX makeup designs for the "creatures" as well as distinct, character-based choices like we see with Fiennes' Kelson. As mentioned, there's no vanity; there's just correct, interesting choices. Anthony Dod Mantle's cinematography is cooking, too, using beautiful silhouettes, bullet time for kills, plenty of natural light and different levels of intensity in terms of movement to devise incredible imagery while still focusing on the great performances first and foremost.

Even though Boyle works neatly alongside Dod Mantle to compose these stylish images, he does stumble with action and knowing when to cut to black. Sure, the latter has something to do with Garland's script, but the poor stunt choreography, blocking and how it all plays tonally are all connected throughout the film. Some of the action and transitions are accompanied by a few haunting cues by composers Young Fathers and Johnnie Burn's crunchy sound design, both harmonising with Rudyard Kipling's poem 'Boots' at one point, but the overall result is messy and unappealing. The ending sequence in particular feels off, although you can admire the wild swings.

Thankfully, those are minor flaws in an otherwise compelling horror. Infected with startling visuals and clever ideas, 28 Years Later is an incredibly moving trek into the disarray, with Comer, Fiennes and Williams' terrific work serving as your guide. Bring tissues and let us hope that we return to this world sooner rather than later.

Smileys: Acting, cinematography, makeup, screenplay

Frowneys: Stunt choreography

Good movie, no boots about it.

4.5/5

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