The UK has descended into a chaotic wasteland where terrifying creatures roam, driven by an insatiable hunger. Amidst this turmoil, small, isolated communities fight for survival with dwindling resources and little faith in a better future, desperately clinging to the faded memories of a more prosperous time.
Thankfully, Danny Boyle’s eagerly anticipated sequel, “28 Weeks Later,” from 2007, allows us to shift our focus away from this grim reality.
Boyle’s filmmaking seems to capture British culture—think Shakespeare and Kipling—whether intentionally or not. In 2002, he completed a trilogy that started with “28 Days Later” and continued with “28 Years Later.”
The UK now finds itself under a military blockade, isolated from the rest of the world. A precarious group of survivors inhabits a remote island, disconnected not just geographically but also culturally. There’s no electricity or internet. People rely on their own hands for work, and children learn Anglican hymns in their schools.
In the evenings, an accordion provides music, helping to drown out the underlying fear that lurks just beyond their small haven. Tidal Island is connected to the mainland by a heavily fortified causeway.
First blood
Among the survivors is Jamie (Aaron Taylor-Johnson), who takes his 12-year-old son, Spike, on a mission to the mainland to confront his first infection. This journey reveals the terrifying threat of a fully mutated virus. The skeletal forms of the infected charge at them, while others drag themselves along the ground, resembling grotesque puppets.
The early scenes are visually intense. Director Anthony Dodd Mantle captures brutal moments with a striking quality, reminiscent of the iconic bullet-time effect in “The Matrix.”
Boyle shifts the mood from chilling horror to sentimentality, transitioning the narrative from a father-son dynamic to a more emotional mother-son story. When Spike discovers a hall of fame resembling zombies, his mother Isla (Jodie Comer) is bedridden due to an undiagnosed ailment.
This marks the start of Spike’s quest, as he leaves his sick mother behind to seek out the notorious Dr. Ian Kelson (Ralph Fiennes).
Select bones
The film presents some intriguing concepts, but it feels fragmented. Each segment boasts a different tone, and many scenes end abruptly, leading to confusion and lackluster climaxes. Characters enter the narrative like they belong in a sitcom yet contribute little to the overall plot.
Doctors appear as ambiguous, influential figures, but Fiennes’ talent seems wasted in this role. When he finally appears, he’s enveloped in iodine while muttering what feels like pseudo-intellectual gibberish and wielding tranquilizer darts against monsters. He engages in creating large “Memento Mori” towers from bones—foreshadowing the fate of several living characters.
At times, the film forces us to confront our own mortality, while in other instances, it showcases bizarre scenes of a spray-tanned Voldemort vanquishing the disheveled zombie Neanderthals roaming aimlessly.
Nailed it
“28 Years Later” excels in portraying Spike’s coming-of-age journey. It explores the painful lessons and missteps that lead him from innocence to responsibility. There’s a palpable sense of loss as he leaves behind his younger self and faces the grim reality of survival. Boyle captures this essence well, even if it gets buried amidst a convoluted plot.
For American audiences, the film can be perplexing, particularly due to the localized accents. Trying to decipher a Geordie accent, for instance, is like asking if a cat can comprehend Swedish. Contrary to popular belief, we don’t all just emerge from the sets of Richard Curtis’ films or dwell in castles.
Rules, Britannia
Boyle’s cinema depicts British culture, embodying themes of social unity and identity, often portrayed through a completely white cast. In a time when many in entertainment are caught up in identity politics, this offers a refreshing perspective.
The soundtrack is a highlight, reminiscent of “28 Days Later,” enhanced by contributions from the Canadian ambient post-rock band Godspeed You! Black Emperor. The film’s tension, anxiety, and brutality are heightened through its powerful score.
While “28 Years Later” is both thought-provoking and occasionally poignant, it can also become frustrating due to its underdeveloped characters and disjointed narrative. Here’s hoping the sequel addresses some of these issues. “The Bone Temple” is set to be released next January, with Nia DaCosta at the helm—a prospect that, let’s be honest, has me a bit nervous.
