Aaron Ploof
I went to see 28 Years Later expecting to see a film that rested tonally between the first two installments of its series. The director and screenwriter duo from the original entry in the series, Danny Boyle and Alex Garland, respectively, have returned. I fully assumed to see a nasty, horror-filled world nearly devoid of humanity, a heavy commentary on the bestial nature of men. Instead, I was pleasantly surprised to see a surprisingly human story, filled with hope and compassion. 28 Years Later does in fact mix the tones of the first two entries, but it in an unexpected way. If Days and Weeks were the cry for salvation, then Years is the fulfillment.
Time Passes
Set 28 years after the 2nd film in the franchise, 28 Years Later sees the rage virus quarantined to the British Isles. While the rest of the world lives on as normal, the survivors left within this detached space have societally regressed. One group lives on the sequestered island of Lindisfarne with only a tidal causeway connecting its village to the mainland. Its society resembles that of colonial times, with different groups taking on separate tasks. They even have initiation rites that signal the transition from boy to man.
One such boy, Spike (Alfie Williams), 12 years old, lives with his mother, Isla (Killing Eve’s Jodie Comer), and father, Jamie (Nosferatu‘s Aaron Taylor-Johnson). His mother is suffering from a mysterious disease; her grasp on reality is failing. She disapproves of Spike journeying to the mainland to make his first kill. However, the boy is eager, and Jamie insists. While the two are on their journey, Spike notices a fire off in the distance. His father later tells him it was made by a former Doctor Ian Kelson (Ralph Fiennes), but that the man has since gone insane. Unwilling to see his mom die and desperate for a cure, Spike leaves the community and ventures forth into the dangerous mainland wilderness, mother in tow.
Sights to Behold
While the first two films mostly took place within cityscapes, almost all of Years focuses on nature as its main feature. Foliage, trees, grass, and jungle are almost everywhere. And it is beautiful. The filmmakers do throw in a few buildings here and there, one gas station from “Shell” is missing its “S” (go figure). But all of them combine to show a world (or at least part of one) that has long been left on its own. The camerawork is sublime, capturing nature’s efforts to reclaim what was once taken by man.
This gives way to a much more meditative mood than the genre’s previous outings. This is a film that takes its time for quite a while, building up its location and mood (excluding the prologue). That’s not to say that violence won’t strike. Indeed, when it does strike, it strikes hard (with great use of slo-mo). But only for a while, before the film once again returns to its restful nature. These two elements mix to tell a story that features beauty in both life and death.
One sequence in particular occurs during the night, with a new enemy, an Alpha, chasing Spike and Jamie. The two are running across the land bridge to their village, the Alpha right on their tails. The backdrop features a wondrous star-lit sky, and even as the music swells signaling danger, it’s impossible not to be entranced by the sight.
Memento Mori
Unsurprisingly, the film features death upfront. In fact, it’s one of its major themes. I’ll take efforts not to spoil here, but that shot of the skull fortress (the one that’s featured on all the promotional material) features heavily into one of the film’s main messages: that we should approach those who are suffering with compassion and understanding, and that death will eventually come for us all.
This theme pops up a few more times in the film, especially in one scene where an infected is giving birth. Comer’s work here as Isla is touching, as she shows humanity towards a being that has all but lost her own. Comer is, in fact, fantastic throughout the film, believably shifting between brief glimpses of sanity mixed with rage-filled anger, as well as moments of softness. Isla is protective of Spike. In fact, he wouldn’t stand a chance without her. Or without others, for that matter.
Slow Going
And most of this film is just that, Spike learning more about the world out there, how he must grow in order to survive; how he must learn to lean on his fellow humans to make it in a world this brutal. I’m glad to say that Williams is up to the task, being wholly believable as the character.
You could say this is a coming-of-age drama, more than action or horror. This means that, as mentioned before, the pacing is fairly slow, and the action of the plot takes a while to kick in. The tone stays fairly consistent all throughout, except for the ending.
The conclusion to the film introduces a new group of characters, and with their introduction comes a brand-new atmosphere. This new feeling could best be described as akin to Power Rangers, that old children’s American adaptation of the Super Sentai TV show. The tonal shift is jarring, and it definitely does not feel like it belongs in the same film. The directors have thematic justification for the shift, but it still broke my immersion.
A Pleasant Surprise
Although it has a slow start, and the ending leaves something to be desired, 28 Years Later is my favorite of the trilogy. The original two may have done a lot with their smaller budgets, but their moods were decidedly darker. With Years, I was left with hope for the future, and a wave of humanity and poetic peace washed over me. One that I was decidedly not expecting. This was a pleasant surprise.
Score: 9/10
28 YEARS LATER – Official Trailer (HD)
What will humanity become? Danny Boyle and Alex Garland reunite for #28YearsLater – only in theatres 6.20.25. Follow Us on Social: https://twitter.com/28yearslatermov https://www.facebook.com/28yearslaterofficial https://www.instagram.com/28yearslatermovie https://www.tiktok.com/@28yearslatermovie 28 DAYS LATER is now available to buy or rent on Digital: https://bit.ly/28DaysLaterOnDigital Subscribe for more exclusive content: https://www.youtube.com/@sonypictures Academy Award®-winning director Danny Boyle and Academy Award®-nominated writer Alex Garland reunite for 28 Years Later, a terrifying new story set in the world created by 28 Days Later.
