A Horrifyingly Good Time
28 Years Later is finally here, and it only took 22 years. Without a doubt, a missed opportunity to have it come out 28 actual years later. Regardless, this film marks not only a return to the legendary horror franchise but also the start of a new full-on trilogy. Don’t get too excited, however, because what’s the point in getting excited for a whole cake if a single slice is rancid to the stomach?
They Skipped 28 Months Later
The most important thing to keep in mind when going into the film is that it is completely separate from the prior two films. Naturally, it still takes place within England, and there are even brief throwbacks to the previous film, 28 Weeks Later, with footage taken from that film. That’s where it ends, however, as the film is essentially a clean slate with an entirely new cast (28 Weeks Later did the same thing by changing out the cast from 28 Days Later). It centers around a young boy named Spike (Alfie Williams). He lives in one of the safest places in England, in a Village secluded from the mainland, along with his mother (Jodie Comer) and father (Aaron Taylor-Johnson). For various reasons, Spike must leave the safety of his village and trek into the wild danger of the mainland. Civilization isn’t the only thing to have changed over these last 28 years, as the infected have also started to go through their own terrifying changes.
So, first things first: the general plot is predictable. From the minute characters are introduced, it’s clear what is going to happen in the next scene. It isn’t bad enough that viewers will be able to predict the ending (no one on Earth could possibly predict this film’s ending), but most of the plot points won’t exactly shock the audience. The characters are definitely likable but obviously have their own roles to play. Spike’s father is tough and grizzled from constantly traveling out into the harsh danger of the mainland and often gives Spike a dose of tough love. Their dynamic actually works and is almost reminiscent of Kratos and Atreus from the newer God of War games. Then there is Spike’s mother, who is the complete opposite and predictably spoils Spike. Seeing the dichotomy of how these two treat Spike works well, but this dynamic is dropped by the second half of the film, with Aaron Taylor-Johnson’s character taking a back seat. Clearly, the film explores themes of fatherhood and motherhood and the idea of growing up.
Zombie Synergy
The cast and crew work flawlessly together, and not a single actor is miscast. The actors match their characters and remain believable. This is in stark contrast to the previous film, which had English actor Idris Elba and Australian actress Rose Byrne playing American troops. Unsurprisingly, Danny Boyle does a great job with this entry, and his style of filming is clearly present. On a side note, the follow-up to this film will not be directed by Boyle but instead by Nia DaCosta, who directed Candyman(2021) and The Marvels(2023).
One particularly odd issue that may irk a large portion of the audience is the humor. Obviously, there’s nothing wrong with a few light-hearted moments in a film where people are constantly dying and there’s nonstop blood and violence. In fact, 28 Days Later did this masterfully with the supermarket scene.
Nothing too crazy, but the moment fit in with the rest of the film perfectly. By contrast, there is a weird amount of incest jokes in the film that just don’t land the right way. To be fair, the jokes mainly come from one particular character who is from outside of England (the rest of Europe is safe from the infection), and this effect may have been purposely added to show the contrast between these characters. Even if that were the case, it just doesn’t work and instead feels like something out of a scene from Deadpool (2016).
The Future of Horror
Anyone who’s even thought about watching this film has most likely seen some of the behind-the-scenes photos making the rounds on the internet. One photo in particular shows an actor with a crazy rig, featuring a multitude of cameras strapped to one side. After seeing those images, how can anyone not be curious about the final product? If nothing else, the shots in this film are stunning and unique. In the beginning, whenever Spike’s father kills an infected, the film enters what many have described as a “poor man’s bullet time.” Essentially, after he shoots an arrow, it cuts to the infected, and the shot almost rotates around the infected with blood and arrow in full view. The thing is, traditional bullet time just involves a shot going into “slow mo”. In this case, it’s more of a still shot with the subject/s frozen in frame, but the camera (for lack of a better term) sort of moves around the subject. It is the coolest thing to see each time it happens, and it never gets old. The audio is equally amazing with an original soundtrack performed entirely by Young Fathers with a style that blends gospel chanting and Neanderthal drumming. Unfortunately, fans of the original theme song, which was hauntingly beautiful, will be disappointed by the absence of John Murphy’s “In the House in a Heartbeat.”
The atmosphere and costume design will likely seem familiar. There is a medieval style and atmosphere present for much of the film, which makes sense. Guns are not viable in this infected world because they’ll just attract more infected. Instead, bow and arrows have become the mainstay for self-defense. Half of the film also takes place in a village safely protected by a huge gate with archers at the ready. This kind of medieval aesthetic has also been used in another zombie medium, Dying Light 2. The game literally is set in a city called Old Villedor. It has a futuristic medieval vibe to it that is quite similar to this film.
Night of the Living Delight
It’s hard not to feel optimistic about this new trilogy coming up. In spite of the many shortcomings apparent at a glance, the film clearly took plenty of risks, which typically seemed to work out. It’s rare nowadays for a film to successfully be both fun to watch and creative. Filmmakers may not communicate all of the plot points perfectly, but they do so in such a unique way that it’s difficult not to appreciate it anyway. If the next two entries can maintain this level of creativity throughout, this trilogy may be comparable to the original Romero Night of the Living Dead trilogy. Twenty-eight years is too long to wait to watch this gem in modern horror.
28 Years Later (2025) Official Sony Pictures Entertainment
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Author
A lover of gore and over the top violence, no movie can make my stomach squirm. The only thing better than a bloody death scene is a well choreographed stunt. Whether it be action or horror, if it has blood in it, then I've likely already seen it. |
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Robert J. Pichardohttps://deadtalknews.com/author/robert-j-pichardo/
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Robert J. Pichardohttps://deadtalknews.com/author/robert-j-pichardo/
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Robert J. Pichardohttps://deadtalknews.com/author/robert-j-pichardo/
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Robert J. Pichardohttps://deadtalknews.com/author/robert-j-pichardo/
Elke Simmons' writing portfolio includes contributions to The Laredo Morning Times, Walt Disney World Eyes and Ears, Extinction Rebellion (XR) News/Blog, and Dead Talk News.
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Elke D. Simmonshttps://deadtalknews.com/author/elke-d-simmons/
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Elke D. Simmonshttps://deadtalknews.com/author/elke-d-simmons/
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Elke D. Simmonshttps://deadtalknews.com/author/elke-d-simmons/
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Elke D. Simmonshttps://deadtalknews.com/author/elke-d-simmons/