(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A group of survivors of the rage virus live on a small island. When one of the group leaves the island on a mission into the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors.”
While I could be wrong on this point, 2002’s 28 Days Later was one of the first zombie films to truly capitalize on the traditional walkers manifesting opposite of the way viewers have grown accustomed to seeing them in film and television. Instead of presenting these threats as the slow-moving, mildly-stumbling variety, these rabid carnivores raced to and fro as if infected equally with some adrenaline high, never stopping, never faltering, never slowing their pace in their pursuit of blood and brains. Suitably, their affliction was called – I believe – the Rage Virus; and the suffers certainly seemed perpetually amped up on rage, indeed.
Structurally, the film was equally a bit of an odd duck. While it began as do a great many zombie projects (in fact, many have cited the somewhat obvious similarities between its opening and that of AMC’s pilot episode of The Walking Dead), the story then descended into the somewhat usual chaos – survivors struggling to both stay alive, remain uneaten, and avoid infection – while setting up its somewhat depressing second half wherein our protagonists learn that life as we know it even amongst the civilized is well over. 2005’s War Of The Worlds – starring Tom Cruise and directed by Steven Spielberg – took the same approach (I’m told its vastly similar to events transpiring in the H.G. Wells novel, but I’ve never confirmed that) with the hero essentially escaping the clutches of Martian overlords only to find himself basically locked in a bunker with a psychotic man who has lost all touch with humanity. The moral of both stories reminds us that civility always remains at risk regardless of circumstance, so be careful what you wish for as it may still inadvertently cost you your very own life.
Now, 2007’s 28 Weeks Later is the kind of sequel audiences get when the original creators of the franchise – Danny Boyle and Alex Garland – step away from the property and leave it in the hands of others. (Yes, I’m well aware that both were involved as producers, but for all I know that could’ve been a contractual agreement and little else.) While it obviously picked up the events transpiring from the Rage Virus somewhat down the road a bit, there was respectably little changes to the world and its people. The project managed to deliver the visceral thrills we’ve come to expect from a good Horror flick; and yet I just found no characters and circumstances truly interesting enough to care about them and their plight. When you begin with the supposition that nothing is going to work out as planned and reach that exact destination, it’s difficult to appreciate the sights and sounds as being anything greater than just that: sights and sounds. Sure, some of it was good, but it just wasn’t all that relevant.
From the film’s IMDB.com page citation:
“A group of survivors of the rage virus live on a small island. When one of the group leaves the island on a mission into the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors.”
While I could be wrong on this point, 2002’s 28 Days Later was one of the first zombie films to truly capitalize on the traditional walkers manifesting opposite of the way viewers have grown accustomed to seeing them in film and television. Instead of presenting these threats as the slow-moving, mildly-stumbling variety, these rabid carnivores raced to and fro as if infected equally with some adrenaline high, never stopping, never faltering, never slowing their pace in their pursuit of blood and brains. Suitably, their affliction was called – I believe – the Rage Virus; and the suffers certainly seemed perpetually amped up on rage, indeed.
Structurally, the film was equally a bit of an odd duck. While it began as do a great many zombie projects (in fact, many have cited the somewhat obvious similarities between its opening and that of AMC’s pilot episode of The Walking Dead), the story then descended into the somewhat usual chaos – survivors struggling to both stay alive, remain uneaten, and avoid infection – while setting up its somewhat depressing second half wherein our protagonists learn that life as we know it even amongst the civilized is well over. 2005’s War Of The Worlds – starring Tom Cruise and directed by Steven Spielberg – took the same approach (I’m told its vastly similar to events transpiring in the H.G. Wells novel, but I’ve never confirmed that) with the hero essentially escaping the clutches of Martian overlords only to find himself basically locked in a bunker with a psychotic man who has lost all touch with humanity. The moral of both stories reminds us that civility always remains at risk regardless of circumstance, so be careful what you wish for as it may still inadvertently cost you your very own life.
Now, 2007’s 28 Weeks Later is the kind of sequel audiences get when the original creators of the franchise – Danny Boyle and Alex Garland – step away from the property and leave it in the hands of others. (Yes, I’m well aware that both were involved as producers, but for all I know that could’ve been a contractual agreement and little else.) While it obviously picked up the events transpiring from the Rage Virus somewhat down the road a bit, there was respectably little changes to the world and its people. The project managed to deliver the visceral thrills we’ve come to expect from a good Horror flick; and yet I just found no characters and circumstances truly interesting enough to care about them and their plight. When you begin with the supposition that nothing is going to work out as planned and reach that exact destination, it’s difficult to appreciate the sights and sounds as being anything greater than just that: sights and sounds. Sure, some of it was good, but it just wasn’t all that relevant.
All of this now brings us to 28 Years Later, the project which thankfully brought Boyle and Garland back to the world fully that they created; and – for better or for worse – they’ve expanding on this cinematic universe not so much by going bigger and bolder but, rather, going smaller, closer, and more intimate.
The world outside of merry old England and the island of Lindisfarne has largely returned to normal, but life, too, goes on within the Quarantine Zone. Largely cordoned off from the rest of mankind by the sea as well as any manmade structures, these people have done the best they can to put their little corner of civilization back together, establishing an old-fashioned commune on the island that assures them a good degree of safety from the remaining infected. But as they’re still putting society back in order, there are rules that much be followed – as well as roles that must be filled – and there is zero tolerance for anyone ‘bucking the system’ for their own personal benefit.
Spike (played by newcomer Alfie Williams) is a young lad just entering his teenage years; and, as such, he is being asked to step into a role of greater responsibility within the village. Jamie (Aaron Taylor-Johnson) has been training the boy on how to hunt and scavenge on the nearby mainland, instructing him on how to both track and hunt anything – and that does mean anything, zombies included – that comes into their sight while foraging for scraps. The trouble at home, however, is that Isla (Jodie Comer) – Spike’s mother – has grown increasingly ill; and the lad sees her condition both as requiring him to instead serve as the dutiful son as well as a potential protector of their family. Naturally, this has the boy questioning just what he can do in the community as he’s unwilling to sacrifice the love he holds dear for his mom.
Without spoiling the lion’s share of 28 Years Later’s first half, the tale rather expertly takes viewers through Spike’s grand introduction to the world at large. He and Jamie travel to the mainland, get caught up in a respectable degree of chaos, and must fight against the elements to make it back to the island. Of course, it’s handled in such a way as to suggest that he’s maturing in the process, but circumstances evolve which puts him (and us) at odds with such growth, suggesting that perhaps he is not yet the man society needs him to be. What we learn, however, is that he’s still precisely where his heart and duty require as Isla’s failing health forces him to step into those adult shoes more comfortably (and nobly) than hunting and killing ever could. Together, mother and son set out on a journey seeking a cure for what she’s suffering, allowing the two to share in a kinda/sorta vision quest exploring what life and love might look like well after the Zombie Apocalypse turns the world to … well … complete and utter sh#t.
The world outside of merry old England and the island of Lindisfarne has largely returned to normal, but life, too, goes on within the Quarantine Zone. Largely cordoned off from the rest of mankind by the sea as well as any manmade structures, these people have done the best they can to put their little corner of civilization back together, establishing an old-fashioned commune on the island that assures them a good degree of safety from the remaining infected. But as they’re still putting society back in order, there are rules that much be followed – as well as roles that must be filled – and there is zero tolerance for anyone ‘bucking the system’ for their own personal benefit.
Spike (played by newcomer Alfie Williams) is a young lad just entering his teenage years; and, as such, he is being asked to step into a role of greater responsibility within the village. Jamie (Aaron Taylor-Johnson) has been training the boy on how to hunt and scavenge on the nearby mainland, instructing him on how to both track and hunt anything – and that does mean anything, zombies included – that comes into their sight while foraging for scraps. The trouble at home, however, is that Isla (Jodie Comer) – Spike’s mother – has grown increasingly ill; and the lad sees her condition both as requiring him to instead serve as the dutiful son as well as a potential protector of their family. Naturally, this has the boy questioning just what he can do in the community as he’s unwilling to sacrifice the love he holds dear for his mom.
Without spoiling the lion’s share of 28 Years Later’s first half, the tale rather expertly takes viewers through Spike’s grand introduction to the world at large. He and Jamie travel to the mainland, get caught up in a respectable degree of chaos, and must fight against the elements to make it back to the island. Of course, it’s handled in such a way as to suggest that he’s maturing in the process, but circumstances evolve which puts him (and us) at odds with such growth, suggesting that perhaps he is not yet the man society needs him to be. What we learn, however, is that he’s still precisely where his heart and duty require as Isla’s failing health forces him to step into those adult shoes more comfortably (and nobly) than hunting and killing ever could. Together, mother and son set out on a journey seeking a cure for what she’s suffering, allowing the two to share in a kinda/sorta vision quest exploring what life and love might look like well after the Zombie Apocalypse turns the world to … well … complete and utter sh#t.
If it hasn’t become clear yet, then allow me to say it succinctly: 28 Years Later is far from the traditional Horror flick but less yet one more theatrical adventure amongst the walking dead. This is a story with heart and soul – something which I suspect a great many of viewers went in not expecting – and the trouble with the infected truly serve ‘second fiddle’ to the main plotline of losing adolescence while finding one’s purpose in life. What Spike learns isn’t exactly the kind of thing we look for in the traditional chiller, and yet Garland’s script has crafted a (mostly) plausible maturation tale that works (mostly) every time it’s tried. Some may disagree with the film’s inevitably simplicity, and some might even argue that it was all a bit too easy for the boy to haul his semi-conscious mother across a wooded wasteland in pursuit of nothing more than affordable healthcare. Those nitpicks can’t change the fact that, mechanically, all of this comes together the way it should.
Also, I’d be remiss if I failed to mention that 28 Years Later’s second half has the great Ralph Fiennes in the role of Dr. Kelson – the healer being sought – turning in what looks like an effortless performance. When the rest of mankind fled, Kelson stayed. Where the rest of humanity chose to ignore, the physician remained true to his medical oath; and he stayed committed to (in an admittedly bizarre fashion) seeing such end-of-life care be administered regardless of race, color, creed, gender, political affiliation, or infection status. The actor really turns in a bravura performance, so much so that it likely helps smooth out a few of the wrinkles in a mildly predictable turn of events; and the film is vastly better for his participation in it than it likely would’ve been otherwise.
Nothing escapes completely unharmed here, and the same could be said for the film as a whole. Once Spike has learned his lesson and accepted what he personally believes his fate should be, he opts to remain in the wilderness, refusing to return to the safety and comfort of the island. (I’ll not say that I agree with his choice, nor do I understand it perfectly, but it is what it is.) Rather than properly end his story at this juncture, producers tacked on a curious closing scene that has the young man running into another group of survivors, some track-suit-wearing Irishmen (and women) who rather irreverently dispatch a band of zombies hellbent on chowing down on Spike. From what I’ve read, this was attached entirely to set up a forthcoming sequel – 28 Years Later: The Bone Temple – set to hit theaters in 2026.
Yes, this closing kinda/sorta cheapens the picture as a whole. Yes, I think it would’ve been better simply closing out Spike’s awakening entirely on its own. But, as a critic, I don’t make those decisions; and I can only hope what is yet to be explored will be handled with as much reverence as this chapter was. Otherwise … yeah, it smacks of an unnecessary cash grab.
Also, I’d be remiss if I failed to mention that 28 Years Later’s second half has the great Ralph Fiennes in the role of Dr. Kelson – the healer being sought – turning in what looks like an effortless performance. When the rest of mankind fled, Kelson stayed. Where the rest of humanity chose to ignore, the physician remained true to his medical oath; and he stayed committed to (in an admittedly bizarre fashion) seeing such end-of-life care be administered regardless of race, color, creed, gender, political affiliation, or infection status. The actor really turns in a bravura performance, so much so that it likely helps smooth out a few of the wrinkles in a mildly predictable turn of events; and the film is vastly better for his participation in it than it likely would’ve been otherwise.
Nothing escapes completely unharmed here, and the same could be said for the film as a whole. Once Spike has learned his lesson and accepted what he personally believes his fate should be, he opts to remain in the wilderness, refusing to return to the safety and comfort of the island. (I’ll not say that I agree with his choice, nor do I understand it perfectly, but it is what it is.) Rather than properly end his story at this juncture, producers tacked on a curious closing scene that has the young man running into another group of survivors, some track-suit-wearing Irishmen (and women) who rather irreverently dispatch a band of zombies hellbent on chowing down on Spike. From what I’ve read, this was attached entirely to set up a forthcoming sequel – 28 Years Later: The Bone Temple – set to hit theaters in 2026.
Yes, this closing kinda/sorta cheapens the picture as a whole. Yes, I think it would’ve been better simply closing out Spike’s awakening entirely on its own. But, as a critic, I don’t make those decisions; and I can only hope what is yet to be explored will be handled with as much reverence as this chapter was. Otherwise … yeah, it smacks of an unnecessary cash grab.
28 Years Later (2025) was produced by TSG Entertainment, DNA Films, British Film Institute (BFI), Danny Boyle, and Decibel Films. The film is presently available in various countries around the world on its initial theatrical run. As for the technical specifications? While I’m no trained video expert, I’d still concede that the feature is honestly a bit of a mixed bag: some of the cinematography is expressive and brilliant while other bits are a bit underwhelming and, sometimes, maybe even confusing. Also, there are a few sequences wherein the editing choices were a bit curious, never quite settling on a scene long enough for me to determine what I’m supposed to be looking at. A great deal of hubbub has been made about the flick being shot entirely on iPhones … and, sadly, yeah, a few spots look like they were shot on an iPhone. True ‘dat.
Highly Recommended.
Unfortunately, I think one’s opinion of 28 Years Later (2025) is fundamentally going to boil down to what one expects from a zombie picture. If it’s chiefly “kills and gore aplenty,” then you’re liable to be a bit disappointed. However, if you’re looking for a quirky coming-of-age story about a young boy on the cusp of adolescence trying to find the right moral path in a world where morality is fungible, then you’re come to the right place. Now, I do have some quibbles with the way it was rather effortless for young Spike to accomplish so much with so little time and (authentic) training; but still I think the film excels in finding small ways to tug at the heart of the audience without bolstering its prospects with gnashing teeth chewing their bloody way into our bloody chests.
In the interests of fairness, I’m pleased to disclose that I’m beholden to absolutely no one for my review of 28 Years Later (2025) as I viewed the film theatrically with the purchase of my own ticket.
-- EZ
Highly Recommended.
Unfortunately, I think one’s opinion of 28 Years Later (2025) is fundamentally going to boil down to what one expects from a zombie picture. If it’s chiefly “kills and gore aplenty,” then you’re liable to be a bit disappointed. However, if you’re looking for a quirky coming-of-age story about a young boy on the cusp of adolescence trying to find the right moral path in a world where morality is fungible, then you’re come to the right place. Now, I do have some quibbles with the way it was rather effortless for young Spike to accomplish so much with so little time and (authentic) training; but still I think the film excels in finding small ways to tug at the heart of the audience without bolstering its prospects with gnashing teeth chewing their bloody way into our bloody chests.
In the interests of fairness, I’m pleased to disclose that I’m beholden to absolutely no one for my review of 28 Years Later (2025) as I viewed the film theatrically with the purchase of my own ticket.
-- EZ
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