by John Tillyard, Contributing Writer
28 years after the Rage Virus outbreak, Great Britain has been placed under strict quarantine to prevent the spread to continental Europe. 12-year-old Spike (Alfie Williams) lives with his father Jamie (Aaron Taylor-Johnson) and terminally ill mother Isla (Jodie Comer) on Lindisfarne as part of a small community. One morning, Jamie decides to take Spike across the causeway to the mainland to educate him on fighting the infected. This mission to the mainland leads Spike to discover new secrets and wonders involving the infected and the survivors.
28 Years Later reteams respective director and writer pair, Danny Boyle and Alex Garland, who shepherded the original 2002 film 28 Days Later. Years acts only as a soft sequel to the first film — it features an entirely new cast of characters, and ignores the events of 2007’s 28 Weeks Later. Some will be turned off, because this is only a sequel in tone and world-building, coupled with the fact that it is yet another zombie apocalypse story. But when Boyle is in the director’s chair, you can always trust the film will feel fresh and original.
Personally, I like that this takes place a whole generation after the outbreak, so people have fully adjusted and accepted that this is their life now. Children born since the outbreak have only known a life where they have to think about survival and fighting the infected. It makes for a pretty different feel in the opening few minutes, as Spike’s life appears to be relatively normal: living in a house and experiencing typical family life. His education at school is quite different, as they learn about bows and arrows, and how to stab with a sharp knife, but compared to other zombie stories, it is all much more contemporary.
Things then take an interesting turn when Jamie decides to take Spike on an educational trip to the mainland in a regular ritual for the children on the island. The visuals here are breathtaking as they cross the causeway and venture into mainland Scotland — infected territory that has remained uncivilized for almost three decades. The main fighting of the infected here consists of running away from them and taking them out with arrows when they can. These sequences are shot masterfully, and the editing and score are very effective. There are also some interesting 360-degree shots of some of the kills, which reminded me a lot of The Matrix and the game Red Dead Redemption 2.
There are also many engaging visuals here, with the use of flashbacks, which gives it a strange, dream-like feel, possibly because it’s showing things from the point of view of the infected, or it could be to suggest that what you are seeing is not real. It creates a feeling of disorientation and keeps you gripped during the slower parts of the story. There’s also a noticeable grainy feel to the visuals that gives it a distinct down-to-earth and, for want of a better word, British feel that could only come from a director like Boyle.
Then, in a strange turn, Spike takes Isla to the mainland, hoping she can get treatment after hearing about a doctor named Ian Kelson (Ralph Fiennes). I enjoyed the atmosphere and tonal shift this part of the story brings. Some nice twists in the tale introduce world building, and exciting me for the sequels Boyle has planned. The ending, though, made me less excited, as it doesn’t fit the tone of what comes just before, and it feels very tacked on. The only part of the story that this ending connects to is its opening, which is equally strange, and is similarly out of place compared to the rest of the film.
The visuals throughout the film have a magnificent variety and impressive originality. Many images are unlike anything I’ve seen before, and there is something new to look at in almost every scene. As a Brit myself, it was also fun to see my homeland turned into an apocalyptic world that was abandoned in the late ‘90s. The appearance of a now-defunct service station chain, and seeing petrol prices we could only dream of today, added a bit of nostalgic fun to the experience. Interestingly, most survivors use bows and arrows or crossbows rather than firearms. Maybe that’s because they are quieter and won’t attract attention, but I like to think it’s partly because of the stricter gun control laws in this country.
Meanwhile, the whole cast is phenomenal. Williams is the clear standout, as he carries the story as a voice of reason in many situations. With only one other film credit to date, I’m sure this kid has a bright future in acting after this performance, and I’m eager to see him in other things. Taylor-Johnson is solid in the role of a flawed father figure, and he has a few nice scenes with Williams. Comer again displays her impressive rage, as she plays a character with uncertain mental capacity. She gets a few moments of genuine emotion with Spike.
This third entry in the franchise offers much to enjoy in terms of tone, atmosphere, and visuals. The story structure has a slightly clunky feel of two stories, a father-son story, and a quest to save a person’s life, that are stitched together in the middle, with bookends which have little to do with the rest of the story — they seem like some obvious sequel setup. Outside of these problems, however, 28 Years Later is a solid experience with a compelling story, some thought-provoking moments, and a captivating amount of world building. Enough is here to keep you engrossed if you enjoy Boyle’s style.
Rating: Liked It
28 Years Later is currently playing in theaters
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