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Audiences have not only been anticipating 28 Years Later due to it being 18 years since the previous instalment, but because it welcomes Danny Boyle back into the director’s chair and Alex Garland into the writing room after birthing the franchise back in 2002. Where 28 Days Later showed us how the infection began and 28 Weeks Later followed to show us just how quickly it can spread, 28 Years Later takes us one large step further, showing how it can evolve.
The new addition introduces us to father and son Jamie (Aaron Taylor-Johnson) and Spike (Alfie Williams), who have found a way to exist on a small island connected to the mainland by a single causeway. When one member of the community departs on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well. Well-acted and playfully shot, 28 Years Later reintroduces the bleak tone and raw energy that we know and love, whilst expanding the lore and delivering plenty of fresh ideas.
Mutation, Memory, and Mayhem: 28 Years Later Redefines the Apocalypse
Many people’s biggest compliment towards this franchise has always been how real it feels. The gritty cinematography, complex character development, and basis in reality are just a few reasons for that, and luckily, these are traits carried over into this new installment. The world we are immersed in feels exactly how it should – those who are left have found ways to survive, the UK remains completely quarantined, and the infection has mutated to find its own means of survival. The infected are trickier to kill and much sparser. Technological advances have come to a complete halt, and anyone who finds themselves on UK soil must make peace with staying there, whether it be dead or alive. The frantic camerawork makes a swift coming with some new antics added in, and the new set of characters feels as lived-in as those in the original. In creating a gritty, immersive, and somehow realistic story, it excels.
This success is largely down to the incredible performances given to us by our talented cast. In the role of dad is Aaron Taylor-Johnson (Nosferatu), who brings his kid up with lashings of tough love and survival methods. Bragging to the town about how many kills young Spike managed on his first foray into the wild, he’s bold and boisterous, which Taylor-Johnson showcases perfectly. Jodie Comer stars as mum Isla, who manages to become the heart and soul of the movie despite the emotion her starring sequences carry. Unfortunately, a victim of an unknown debilitating illness due to the lack of doctors and medicine in the community, her confusion, pain, and constant headaches put a heartbreaking strain on the family. No matter how confused she gets, or how much pain she’s in, her love for her son is never questionable – Comer embodies this flawlessly. Ralph Fiennes (The Grand Budapest Hotel) may have less screen time than we envisioned, but he certainly makes his presence known as Dr. Ian Kelson. What looks like a macabre, maniacal way of living appears to be much more under the surface, and Fiennes adds an unexpected layer of humanity to the story. He’s great.
As wonderful as our seasoned cast is, it really is young newcomer Alfie Williams who steals the show as 12-year-old Spike. As the movie opens, we are led into a sense of naivety alongside him, as the town celebrates him going on his first venture onto the Mainland with his dad. He’s both nervous and excited to showcase his skills and see what’s truly out there, and he and his dad Jamie come across as an unstoppable pair. However, despite his kills being celebrated like he’s a hero, Spike starts to see the world for what it truly is, both inside and outside his community. With a very sick Mum, and a Dad who brags false claims about Spike’s skills and doesn’t remain faithful to bedridden Isla, Spike is forced to grow up quickly, and we see him grow and change as the run-time progresses. Williams is absolutely phenomenal from start to finish, showcasing both the childlike playfulness and headstrong determination and survival instincts of his character with ease. Carrying the weight of the emotion and giving us a likable lead to root for, Alfie Williams is one to watch, creating an excellent, rounded character in Spike.
The first half of 28 Years Later plays out as expected – a gritty, grizzly action-horror hybrid with plenty of brutal kills and characters doing their best to survive. The gore is much gnarlier than both predecessors, due to the way the infected have mutated over the years, and somehow they’re more terrifying than ever. The horror aspects are somewhat sparse but highly effective, with each brutal kill sequence making its mark. Though this bleak, violent tone does somewhat carry over into the second half, at times it’s much more meditative. The script, written by both Boyle and Garland, does its best to add a think piece on the idea of death. Of course, death surrounds our characters and has done for the last nearly 30 years, but through Fiennes and Comer’s characters, we learn that death comes in many ways – not just violence – and sometimes, is worth embracing. It has a decent balance of love and life with death, featuring many beautiful, heartfelt moments alongside the harsh ones. At times, it’s a little messy due to some tonal inconsistency, but the message is important and resonant.
28 Years Later is not as straightforward as it seems. Some playful, experimental choices are bound to divide viewers, and it certainly swings for the fences, wherever you land. There is plenty of beautiful establishing cinematography, with one sequence in particular taking place along the causeway that is genuinely a marvel. However, some intriguing choices with the cinematography and editing are bound to leave some feeling a little jarred. It not only embraces the choppy, frantic shooting methods of the first two but also adds in a few tricks that give audiences something new to talk about. Whether it works or not is down to individual taste, but it certainly takes some getting used to. The music choices are also occasionally baffling, with tracks that don’t always seem to match the tone of the scenes they are placed in. Also, those excited to hear John Murphy’s In the House – In a Heartbeat should be guided to manage expectations. The wacky choices aren’t just prominent in the filmmaking, but within the writing, too. The ending will certainly leave most viewers with their jaws agape, and the tonal choices won’t work for all.
28 Years Later is a great continuation of the franchise, and a welcome return for both Boyle and Garland. The horror works perfectly, the story is layered, the performances are the standout, and the character development is as strong as expected. Whether the bold swings work for all is certainly up for questioning, but one thing is certain – it makes its mark.
Grade: B
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