Review: ’28 Years Later’ matured over time
’28 Years Later’ is the second sequel in the franchise, following a new generation of survivor trying to make sense of their world.
The early 2000s experienced a zombie revival that was ironically led by a movie that didn’t actually feature zombies. In 2002, director Danny Boyle and writer Alex Garland united to create what would become an iconic horror film: 28 Days Later. However, the picture features people infected with a rage virus that causes them to be indiscriminately and compulsively violent — not flesh-starving undead. Five years later, the franchise would continue under someone else’s direction in 28 Weeks Later. Now, Boyle and Garland return to extend the world they created with a new story that takes place 28 Years Later.
While continental Europe was able to eradicate the virus, the UK was placed under permanent quarantine and any uninfected were left to fend for themselves. A group of survivors thrive on a small island off the coast, connected to the British mainland by a heavily guarded causeway. Even though he’s only 12 years old, Spike’s father, Jamie (Aaron Taylor-Johnson), decides the boy is ready for his rite of passage. He takes Spike (Alfie Williams) on his inaugural trip to the mainland to kill his first infected. Their field trip shows Spike things he’s never seen before, including potential help for his mother, Isla (Jodie Comer), who is suffering from a mysterious, deteriorating illness.
This film adopts a different style to its predecessors. Having lived nearly three decades isolated from the modern world, the survivors have reverted to pre-industrial revolution practices of living off the land, and medieval tools and weaponry. The first act is filled with quick cuts to archers defending a wall, spliced with infected engaged in some kind of ritual under the guidance of an Alpha, who is faster, stronger and smarter than the average infected. These artistic montages seem to imply humanity has come full circle — war is once again waged with bows and arrows, while the infected have regressed to near-prehistoric instincts. Then there are Spike’s haunting dreams that meld with reality.
Taking its lead from the zombie genre, there are now slow- and fast-moving infected. While previous films suggested they’d starve to death, they’ve instead evolved and found other ways to endure… and even procreate. There is a lot of post-apocalyptic nudity in the picture as most of the creatures’ clothes have long since decomposed or become threadbare, so prudish beware. On the other hand, with a smaller population of survivors, there is less general carnage, though the film still manages to be gory. There’s also a very morbid yet thoughtful element that recalls an ossuary (a.k.a. bone church) and is a tribute to the Latin phrase, memento mori, which means “remember you must die.”
The contemporary world briefly intersects with this primitive one, revealing the rest of the world has progressed normally since the outbreak was contained. The village’s lack of knowledge about technology and the Kardashians is a source of comedy. Spike’s honest reactions to certain trends hilariously flies in the face of mainstream consensus. It’s a great way to break up some of the narrative’s tension, but it also raises questions about the quarantine and the prolonged need to isolate the survivors in light of modern resources. The outsider is also the only one to call the creatures “zombies,” but he’s generally ill-informed anyway.
The U.K.’s post-apocalyptic reality caused Spike to mature earlier than most other boys his age. He’s very attuned to his emotions and takes on a lot of responsibility over the course of the film. Williams carries much of the movie on his shoulders and he never falters. Taylor-Johnson exudes strength. Jamie does his best to be a good father and make sure Spike is tough, but he can’t hide his imperfections from his son forever. Conversely, Isla is all flaws, but her love for Spike is immeasurable — a fact she proves repeatedly in spite of her affliction. Comer gives a harrowing performance, effortlessly slipping in and out of lucidity. Yet, her vulnerability plays in impeccable unison with her passion. In addition, Ralph Fiennes appears as a man who’s adapted to living in a world of monsters with eerie composure and practical beliefs.
This film is unlike the others in the franchise, presenting an evolved narrative and elevated horror that demonstrates the growth of both the picture’s creators. The only real oddity is the framing narrative, which feels like a setup to another sequel or spin-off.
Director: Danny Boyle
Starring: Jodie Comer, Aaron Taylor-Johnson and Alfie Williams
