Danny Boyle’s propulsive, exciting slice of infected Britian proves there’s fresh ways to make the type of film he accidentally overly popularised.
23 years after the cult success of his stripped back vision of a “rage virus” infecting people in London in 28 Days Later, Danny Boyle returns to the directing chair. This time for a more spiritually linked third film 28 years after the initial apocalypse.
28 Days Later seems to have had a lasting cultural effect that not even their own creators could have envisaged. Whatever anyone thinks of the film there’s no doubt that is has inspired and provided the blueprint for the countless types of zombie films and series we have seen in the modern era. Perhaps it’s to do with the timeless quality of seeing such a huge city destroyed – it speaks to the cultural landscape of Britian as we continuously veer towards political uncertainty and unrest.
After the virus went global in 28 weeks later the spread has been eradicated and controlled, except for the UK. The entire Country has been cordoned off and quarantined, nobody allowed in or out as the infected roam the mainland. On a remote island out to sea at the end of a causeway lives young Spike (Alfie Willaims), who’s known nothing other than the apocalyptic existence he was born into. He’s just turned 12 and his father Jamie (Aaron Taylor-Johnson) believes he’s ready for his first trip to the mainland, where danger lurks around every corner. His mother Isla (Jodie Comer) is seriously ill, and nobody seems to know what’s wrong with her, while his father ensures Spike there’s also no way to find out, doctors are long since extinct. But after a terrifying first run in with the infected Spike realises his father may not be telling him the entire truth. Spike’s grandfather (Christopher Fulford) lets slip that an effigy style fire him and his father saw belonged to that of Dr. Kelson (Ralph Fiennes), so with grand ideas that the “deranged” Kelson can cure his mother, Spike sneaks them both out on a cross-woodland journey for answers.
First of all, Boyle and writer Alex Garland have created a distinctive and believable vision of the type of religiously allegorical and folk horror adjacent future you truly believe is a result of this terrifying global crisis. The rules of the society are bolted into place and those who do not abide do not make it back alive. The infected themselves are terrifying departures from the classic zombie. Their jerky and rapid movements make them feel less undead and more superhuman. Danny Boyle brings every scene and attack involving the infected to vibrant life with his inventive and bold style of direction. It’s great to see him back working on an expansive feature film with big ideas and technical prowess. He has the go for broke attitude of a first-time filmmaker despite his experience and talent. His talent for picking great music is evident here as progressive hip-hop group Young Fathers merge perfectly with the material. They’re a band that sound like they were formed after a societal breakdown and the cautiously optimistic rhythm’s sound like they were created in a derelict church swarming with infected.There are flourishes as arrows pierce infected flesh creating a slow-motion splatter of gore which feels grungy and of the world the characters inhabit. The one drawback of these impressive scenes is that after a while they do start to feel slightly repetitive. Perhaps some different approaches that are less go for broke might’ve created a more satisfying balance.
As the story evolves the narrative becomes all about Spike and Isla, the connection they share and the people they were or could have been without the infected. The emotional core of the film works despite a rather predictable set of circumstances once we meet Dr. Kelson. Spike’s evolution as a character is earnt and you can see him turning into something entirely different in the next two instalments.
Without spoilers the ending will be the main talking point of 28 Years Later, it is such a harsh change from the rest of the films tone it’s hard to completely accept. While I’m certainly excited and intrigued as to where this new trilogy will lead, I couldn’t quite stomach the level of twist the film employs to feel completely satisfied with it as a singular entity.
Audiences looking for a great time at the cinema will get just that with 28 Years Later, it’s good to have Boyle back - his films demand to be seen on the big screen.
Seen on 19/06/25 at Peckhamplex.