28 Years Later Is Totally Nuts

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In Danny Boyle’s 28 Years Later, a chilling monument stands at the core – a tall, bone-covered tower of skulls, serving as a somber tribute to the deceased. The sight is grim, with trees adorned in bones, yet intended to evoke empathy. Dr. Ian Kelson (Ralph Fiennes), its apparent creator, explains, “There are so many dead, infected and uninfected alike – because they are alike.” As a recluse surviving in the aftermath of Britain’s transformation into a zombie-infested wasteland, Kelson became a rugged, muscular, and somewhat eccentric hermit, fending off hordes of monsters using a combination of weapons, cunning, and medical expertise. Whenever someone perishes, Kelson removes their skin, polishes their skull, and adds it to the tower. This memorial underscores the ever-present specter of death in these movies, but it also encourages us to reflect on the immense sorrow these humans have experienced. “Every skull is a mind,” Kelson states. “These eye sockets saw, and these jaws ate.” Many view him as mad, yet perhaps one must be a little insane to cling to humanity in such a world.

In essence, both the real world and the digital screen can share similarities when it comes to certain films. For instance, if you’re seeking thrilling monster action but expecting a traditional zombie movie from the original “28 Days Later,” you might be disappointed. Directed by Danny Boyle and written by Alex Garland, this film was less about monstrous creatures and more about human behavior in the face of catastrophe. Characters infected with the “rage virus” were often lurking in the shadows, triggering extreme reactions that the film centered around. The creators didn’t aim to show us people being chased by face-eating monsters; rather, they wanted to portray humanity’s response to a world in ruins. Filmed on economical digital video cameras and released in 2002, following the shock of September 11, this movie was a masterpiece. What made it truly chilling wasn’t just the 28 days it took for civilization to collapse, but its title itself.

The sequel, “28 Weeks Later,” directed by Juan Carlos Fresnadillo in 2007, also offered more than just zombies. Released during a time of ongoing conflicts known as the Forever Wars, this film depicted London under U.S. military occupation (and at one point, partially incinerated). It wasn’t merely about zombies; it was about conflict, survival, and the impact of war on society.

The follow-up concluded with the chilling sight of zombies storming Paris, but it seems this issue has been mitigated in recent times. Now, we’re informed that the rage virus is confined to Britain, which is under lockdown and monitored by vessels from other nations. One might liken this situation to an unplanned instance of Brexit. The narrative unfolds on a secluded island cut off from the mainland by a prolonged causeway that reveals itself only at low tide. Under the tattered Union Jack, the residents have managed to establish some form of order by performing customary tasks and maintaining traditional values. They cultivate crops, fish, craft tools, and sing together (with songs like “Delilah” by Tom Jones being their choice), all while vigilantly protecting against potential intruders from the mainland who might approach the causeway menacingly. Occasionally, one might ponder if Boyle and Garland inadvertently made a sequel to their lesser-known initial collaboration, “The Beach” (2000), instead.

At times, residents from this village venture onto the mainland themselves. For instance, when the film’s lead character, 12-year-old Spike (Alfie Williams), is accompanied by his father Jamie (Aaron Taylor-Johnson) on his first zombie hunt using self-made arrows. The villagers encourage them with cheers, and Boyle, known for his dynamic, eclectic style of filmmaking, interweaves scenes of heroic paintings and clips from Laurence Olivier’s 1944 adaptation of Shakespeare’s Henry V, which aimed to boost British morale during WWII. However, the enemies our heroes face aren’t disciplined ranks of French archers or cavalry. This story is set several decades after the events depicted in previous installments, and the infected have undergone changes, some even devolving. There are slow, sluggish ones that crawl pitifully and feed on worms; they’re relatively easy to eliminate, and Spike and Jamie find enjoyment in doing so. In contrast, there are faster, more familiar zombies. The most concerning are the alphas, who are stronger, smarter, and much harder to subdue. Alphas don’t only try to bite your face off; they also delight in ripping your head and spine directly from your body.

The genre of zombie stories, filled with fear of mobs and depictions of neighbors and dear ones transforming into mindless, violent creatures upon contact with infected outsiders, has always carried a symbolic weight, much like Dracula and Frankenstein. However, this genre had waned for quite some time until 2002 when Danny Boyle’s film and Paul W.S. Anderson’s Resident Evil revived it. In the years that followed, zombies became a lucrative venture, but they never fully lost their symbolic meaning. In this context, we can envision Boyle and Garland attempting to capitalize on the modern film industry’s fascination with indestructible franchises while subtly expressing their thoughts about the current state of society.

In this aspect, at least, they effectively carry on, as 28 Years Later continues the practice of employing genre as a disguise to delve into the experience of life in current times. The latest film’s fixation on echoes of the past serves not only as a reflection of the lingering impact of the pandemic, but also the overwhelming and relentless depiction of death on our screens, as we casually scroll through pictures of violence and cruelty transmitted to our phones from locations that, for now, remain distant. Perhaps it takes a rugged, hard-boiled Ralph Fiennes meticulously cleaning bones with a faraway gaze to remind us that the world is inhabited not by mindless automatons to be manipulated but real people.

The Movie.)

The film, titled “28 Years Later,” isn’t just its genre elements that seem incomplete. While it boasts some stirring scenes and impressive performances by Fiennes and Taylor-Johnson, the movie carries a scattered feel, resembling a hodgepodge of unconnected thoughts rather than a cohesive narrative or vision. Perhaps all the pieces will fall into place eventually. Or maybe that’s the point – after all, what could be more fitting for our times than a film franchise turning into a tumultuous and disjointed outburst? The movie is uneven, puzzling, and at times, hard to believe, but I can’t seem to shake off its impact.

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2025-06-19 00:54