When people consider the most influential names in the zombie genre, George A. Romero is the first who comes out. The second is probably Danny Boyle, even though he hasn’t been a longstanding resident of the genre. Since the original 28 Days Later in 2002, Boyle has helmed a family drama (Millions), a sci-fi thriller (Sunshine), a Best Picture winner (Slumdog Millionaire), two uniquely structured biopics (127 Hours, Steve Jobs), and a musical fantasy (Yesterday). It’s one of the most versatile filmographies in modern cinema with Boyle rarely repeating himself. Many filmmakers have tried to replicate 28 Days Later, however.
The film set a new standard for modern zombie movies, turning the walking dead into the track running dead. There have been numerous zombie flicks since then, although few have left more of an impact than 28 Days Later. This includes the sequel 28 Weeks Later, which Boyle didn’t return to direct. Boyle is back behind the camera for 28 Years Later, skipping over 28 Months Later. The Rage virus continues to rage on as the zombies evolve. One even looks like Jason Momoa (it’s not him). It remains unclear exactly how far the virus has spread, although iPhones now exist in this universe. So, it likely hasn’t stretched beyond Europe.
An island community has adapted, separated from the mainland by a large causeway. Among the inhabitants is young Spike (Alfie Williams), who has never known a world without the infected. Basically, he’s every kid in a post-COVID world. He lives with his father Jamie (Aaron Taylor-Johnson) and mother Isla (Jodie Comer), whose physical and mental health is deteriorating. Jamie has seemingly given up on his marriage, but when Spike learns of a mysterious doctor living on the mainland, he insists on taking her to him.
For its first two-thirds, 28 Years Later is a solid yet familiar throwback to Boyle’s 2002 classic, carried by two exceptional performances from Comer and Williams. While Boyle delivers the frantically edited, bloody-as-hell zombie carnage we crave, the film doesn’t do anything especially new until the final act when it becomes a post-apocalyptic Apocalypse Now. Ralph Fiennes fills the Marlon Brando role as Dr. Ian Kelson, who is either an angel of mercy or a merchant of death. In any case, his conversations with the mother and son are poignant, heartbreaking, and fascinating. It’s not what fans will expect, which may cause some to revolt. For me, though, it’s easily the most absorbing part of the movie, one I wish ran longer.
Unfortunately, 28 Years Later rushes to an abrupt ending with much unresolved. Another sequel is already in development with a third on the way. 28 Years Later thus feels like a piece of a larger puzzle. As such, it’ll be hard to fully judge until we see the completed jigsaw. For the beginning of a new chapter, Boyle skillfully immerses us back in this world with raw intensity and at least one extended sequence that dives deeper into the lore. Time will only tell if the best has yet to come or if this is as good as it gets. At least we won’t have to wait decades to find out this time.