28 Years Later Review: A Legacy Sequel Bursting with Energy and Concepts

      One might argue that Danny Boyle was once the embodiment of Cool Britannia in filmmaking—a director who, at 40, effectively captured the essence of the youth in their 20s, as demonstrated in Trainspotting. Between that film and 2017's T2 Trainspotting, Boyle secured an Academy Award for Best Director for a widely appealing film and directed the opening ceremony of the 2012 London Olympics, thus losing any argument against being labeled a sell-out. As the demand for intellectual property has intensified and the British Empire has further diminished since the tumultuous release of T2, calls for another sequel have arisen. Will the director compromise even more?

      Equipped with a plethora of iPhones, 28 Years Later presents a clear statement from Boyle that he still has the ability to deliver. Here, his frantic energy combined with returning writer Alex Garland’s uniquely structured screenplay creates a film that keeps audiences on their toes—a high compliment for something set to hit theaters soon. Although this may not necessarily mean that the film is inherently great.

      One refreshing aspect is the absence of any distinct connections to the previous series in this legacy sequel. The story begins nearly thirty years after the outbreak of the rage virus in Britain, plunging us into what appears to be a retro village society that has managed to survive on the quarantined Scottish Isles. However, the promotional material for 28 Years Later conceals that the actual protagonist is a pre-teen boy named Spike (Alfie Williams), the son of the rugged hunter Jamie (Aaron Taylor-Johnson) and the bedridden Isla (Jodie Comer), who seems to be afflicted by a degenerative brain condition. Jamie is preparing Spike to become the man of the house, while he seemingly overlooks his wife's deteriorating condition in a society devoid of doctors. Though Jamie might showcase the millennial dad persona of being a caring individual, a darker side is evident in him and the boys-club atmosphere he embodies.

      Initially, stronger commentary seems to arise through the editing: the all-white society reveals its isolationist tendencies, while the film aggressively intersperses British nationalist imagery, including scenes from Laurence Olivier’s wartime epic Henry V and archival footage from World War II, which might suggest a parallel to Brexit. Nevertheless, many of Boyle and his team's stylistic choices seem disjointed, repeatedly showcasing zombie arrow kills in slow-motion panoramic shots, only for the film to lose interest and revert to scenes of spines being violently extracted from infected bodies.

      This aligns with Garland’s screenplay, which shifts direction so frequently that it’s challenging to ascertain its ultimate purpose. As Spike embarks on a journey with his mother to find the exiled doctor Kelson (a remarkable Ralph Fiennes), the film leans into more risks. Supporting characters are swiftly sidelined, and the tone oscillates wildly between humor and emotional sentiment. Death can be portrayed either as a joke or a tragedy within just a few minutes.

      The seeming disregard for overarching morality or cohesive thematic threads indicates that 28 Years Later, despite Boyle and Garland's impressive track record in recent years, isn't particularly worried about respectability. The film may not be entirely fulfilling—it still leaves much to be desired for an upcoming sequel entitled The Bone Temple—but one must commend the audacity of concluding with a genuinely shocking and comedic ending that is likely to lead to an F CinemaScore and minimal attendance for the next installment.

      28 Years Later is set to be released in theaters on Friday, June 20.