My quick rating – 7.2/10. Danny Boyle and Alex Garland return to the infected-ravaged wastelands of the U.K. with 28 Years Later, the third entry in the franchise that helped redefine the zombie genre. Set nearly three decades after the original outbreak, this installment doesn’t waste time rehashing familiar territory. Instead, the story plunges us deeper into a mutated world where more than just the virus has evolved.
The story centers around Spike (Alfie Williams), a survivor living on a fortified island community tethered to the mainland by a single, heavily defended causeway. When he ventures into the heart of infected Britain on a rite of passage mission, what he uncovers shifts the tone of the movie from survival horror to something more contemplative, surreal, and surprisingly emotional. Williams delivers a standout performance, balancing quiet resilience with vulnerability, and anchoring the story with genuine heart, something not always expected in a film with this much arterial spray.
Visually, 28 Years Later is stunning. Boyle’s trademark kinetic energy is on full display, but it’s the cinematography and editing that truly shine. The abandoned ruins of the U.K. look both haunting and beautiful, every frame oozing desolation and decayed grandeur. Whether it’s the sweeping drone shots over the vast landscapes or the intimate, handheld work in tight corridors, the film is consistently engaging to look at. The action, mostly concentrated in the first half, is fast, brutal, and stylishly edited, with a bow-and-arrow-heavy approach that feels oddly appropriate and even a little game-like in execution.
The second half is where things get interesting and divisive. Boyle and Garland inject the film with a dramatic and slightly experimental turn that explores a nihilistic approach to death more than straightforward zombie horror. The introduction of Spike’s mother, played with precision by Jodie Comer, adds layers of tragedy and conflict, especially as the film flirts with themes of memory, identity, and survival guilt. A scene involving the infamous “boots” poem is an unexpected highlight, poetic, eerie, and masterfully done, just as the teaser trailer was.
There’s a satirical undercurrent here too, as the film subtly critiques the decline of British institutions and identity, adding extra bite to an already intense narrative. Ralph Fiennes as Dr. Kelson brings a composed menace that elevates every scene he’s in. He’s not a main character, but his presence lingers long after the credits.
And then… there’s the ending. Without spoiling it, let’s just say the last 10 minutes go full bananas. After 105 minutes of grounded tension, character work, and grim atmosphere, the film takes a turn so tonally off-kilter it almost feels like a parody. It’s clearly intended to set up a sequel, but it lands more like a head-scratching paradox. You’ll know it when you see it.
28 Years Later is ambitious, uneven, and occasionally brilliant. It doesn’t always stick the landing, but it deserves credit for trying something different in a genre where sameness is often the norm. It’s not as lean or terrifying as 28 Days Later, nor as chaotic as 28 Weeks Later, but it finds its own voice somewhere in the middle—with a bit more heart, a few more ideas, and a hell of a lot of arrows.
Amazon and several other streamers have this for theater pricing.