‘28 Days Later’ Becomes ‘28 Years Later’ in New Trailer

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28 Years Later isn’t merely a continuation of 28 Days Later and 28 Weeks Later, it marks a reunion of sorts between the original film’s director Danny Boyle and writer Alex Garland. Garland, who has been busy penning his own films such as Ex Machina, Annihilation, Captain America: Civil War, and co-directing Warfare, hasn’t worked with Boyle since 2007’s Sunshine. Thus, 28 Years Later is Alex Garland’s first screenplay directed by Danny Boyle since then.

It’s hard to believe, but it’s been nearly 28 years since the release of “28 Days Later” in 2002, revolutionizing the portrayal of zombies in movies. Just as we gather here for a reunion, this film reunites human survivors, who reside on a small island linked to the mainland by a single, fortified passage. Two of these characters (one played by Aaron Taylor-Johnson) venture back to the mainland, where swift-moving zombies dwell, and that’s when the chaos ensues.

Check out the ultra-spooky trailer for 28 Years Later below:

Here is the film’s official synopsis:

For nearly three decades, the fury virus has been confined within strict quarantine after it broke out from a biological weapons lab. Living amidst the infected is now possible for some survivors, one of whom resides on a secluded island linked to the mainland by a heavily fortified bridge. However, when this survivor ventures off the island for a mission into the core of the mainland, he encounters secrets, wonders, and nightmares that have not only transformed the infected but also other survivors in unexpected ways.

28 Years Later is scheduled to debut in theaters on June 20.

The 10 Worst Superhero Movies of the Last 10 Years (2015-2024)

10. Eternals (2021)

It’s clear that not everyone may agree, but it seems Marvel’s current film production isn’t as consistent as its early days. However, the company’s struggles might be slightly exaggerated, given the release of enjoyable movies like “Guardians of the Galaxy Vol. 3”, “Spider-Man: No Way Home”, and “Doctor Strange in the Multiverse of Madness”.

On the other hand, I must admit that my expectations for Marvel’s films were higher before the release of “Eternals”. Directed by an Oscar winner and based on some of Jack Kirby’s most daring comics, it was expected to be a significant title. Regrettably, “Eternals” fell short of expectations. While it remains relatively true to Kirby’s original concepts, it introduces frustrating changes, such as turning the Deviants into generic monsters without clear goals or motivations.

The ensemble cast features commendable supporting performances from Kumail Nanjiani and Brian Tyree Henry, but the main characters, played by Gemma Chan (as Sersi) and Richard Madden (as Ikaris), fail to convincingly portray their long-standing relationship. Their romance, spanning thousands of years, appears as if it’s on their first date and going terribly wrong.

The script occasionally delves into intriguing ideas about the relationships between superheroes, mythology, and religion, only to abandon them in favor of repetitive fight scenes involving dull monsters. It’s challenging to imagine a more tedious movie about immortal alien robots trying to prevent total annihilation than this one.

9. Venom: Let There Be Carnage (2021)

In a stark contrast, while the initial film Venom was a chilling body horror movie marred by a broad and at times absurdly comical central performance, the sequel, Let There Be Carnage, leans more towards a romantic comedy. Here, Tom Hardy’s Eddie Brock and Venom seem to be in a tumultuous relationship, bickering over their incompatible living arrangements and even contemplating splitting up for a taste of independence (or perhaps a feast on some unsuspecting brains). Unlike its predecessor, which was entangled in multiple subplots and convoluted plotlines about malevolent Life Foundations, Let There Be Carnage is streamlined to such an extent that it leaves many fundamental story questions unanswered and introduces key supporting characters well into the film. The narrative is riddled with gaps and a flurry of incoherent action sequences, suggesting a potential editing room carnage at Sony Studios. (It appears this issue is not unique to their Spider-Man “spinoffs” of late.)

8. The New Mutants (2020)

As a movie critic, I must confess that my anticipation for the conclusion of Fox’s X-Men franchise, The New Mutants, was dampened by years of delays and whispers. Arriving in theaters during the turbulent summer of 2020, it seemed as though this chapter had little left to offer, given the familiarity of these mutant characters. However, director Josh Boone infused some fresh, albeit peculiar, interpretations into adapting the iconic ’80s Marvel comic.

While he stayed true to the essence of characters such as the shy werewolf Rahne Sinclair (played by Maisie Williams) and the cocky Bobby da Costa (Henry Zaga), Boone unfortunately fumbled the narrative premise. Rather than unfolding a tale about the budding heroes of tomorrow, the film was confined within the walls of a vast mutant hospital, seemingly run by a single physician. This setting left me yearning for more connections to the expansive X-Men universe. For instance, the presence of Colossus and his acceptance of this questionable medical facility left me scratching my head, wondering why he was content with his sister’s treatment under such suspicious circumstances.

7. X-Men: Apocalypse (2016)

The movie, X-Men: Apocalypse, commits several blunders, one of which is misusing the talent that is Oscar Isaac. By drowning him under 60 pounds of hideous blue makeup and making him speak in an absurdly comical voice, they reduce him to doing awkward actions such as placing his hand on a TV screen and uttering “Lllllleeeeeeearniiiiiiing.”

Moreover, it squandered the momentum and goodwill earned by its excellent prequel, X-Men: Days of Future Past, with a ridiculous opening credits sequence. At this point, it seems that the glory days of the X-Men franchise are forever lost in the past.

6. Kraven the Hunter (2024)

Ever pondered about the origin of Kraven’s furry jacket? Then there’s a movie tailored just for you! However, if you’re not particularly attached to this secondary Spider-Man antagonist’s attire, you might find little enjoyment in Kraven, an excessively lengthy and meandering spinoff (without any Spidey) that revolves around a human hunter (portrayed by Aaron Taylor-Johnson), whose defining characteristic is his muscular physique. He engages in battles with his father (a flamboyant and heavily accented Russell Crowe) and the Rhino (Alessandro Nivola), who in this version, is a Russian criminal with a backpack full of medicine that prevents him from transforming into a large, gray-skinned monster. And yes, they do put considerable effort into explaining Kraven’s signature lion-faced vest.

5. Justice League (2017)

The Justice League film was supposed to be the crowning finale for a connected series of narratives. Regrettably, it transformed into a hastily concluded climax for an incoherent storyline, effectively dismantling what had initially been a promising cinematic universe. This change occurred when director Zack Snyder stepped away due to personal matters and Joss Whedon took over, resulting in a production that seems unlike anything either of them would have produced independently. The editing was haphazard, the tone was inconsistent, and the primary antagonist, a generic CGI villain with no character or driving force beyond world domination, left viewers unimpressed. Despite the existence of Snyder’s cut on Max, the original Justice League film will forever be remembered as one of the weakest DC movies ever made.

4. Fantastic Four (2015)

In a twist of irony, a team of bright young researchers invent a device to travel across dimensions, fearing exploitation by their backers, they experiment with it instead. Unintentionally, they gain extraordinary abilities or grotesque transformations, mirroring the troubled production of Josh Trank’s Fantastic Four. Essentially, this movie can be interpreted as a symbolic representation of its own production, where young filmmakers with noble aspirations attempt to breathe new life into established characters, only to have their creative vision threatened by financial concerns.

As for the movie itself, it’s a bizarre mix of genres – part horror, part superhero flick. It’s like eating a salad made from lettuce, gummy worms, and carpet samples with a dash of Mike’s Hard Lemonade. And regarding the Thing character, he seems to be walking around without clothes throughout the film. One might wonder if this lack of clothing is intended to shock or disturb, yet it seems no one else in the audience shares that reaction.

3. Suicide Squad (2016)

In this movie, the Suicide Squad serves as both the instigator and the savior of the main issues at hand. Initially conceptualized by director David Ayer, the final version of Suicide Squad released felt more like shredded cabbage than a cohesive storyline. The extended cut won’t miraculously enhance the film. In fact, it was unnecessary for Suicide Squad to be prolonged. Unfortunately, Suicide Squad marked the lowest point in the DCEU (Rest In Peace). However, James Gunn’s The Suicide Squad demonstrated a noticeable upgrade from its predecessor.

1. In this film, the Suicide Squad is responsible for both creating and resolving the story’s problems, much like how Homer Simpson describes alcohol.
2. The Suicide Squad in this movie acts as both the cause and the cure of the plot’s troubles, similar to alcohol according to Homer Simpson.
3. In the context of this movie, the Suicide Squad is the root of, as well as the remedy for, all the narrative difficulties – akin to how Homer Simpson describes alcohol.
4. The Suicide Squad in this film functions as both the source and the resolution of the story’s predicaments, similar to the way alcohol is portrayed by Homer Simpson.

2. Madame Web (2024)

In this reimagined narrative, Sony decided to create a prequel for the character Madame Web, despite her not having her own ongoing comic series. The role was given to Dakota Johnson, who portrays the title character in a rather gloomy manner. However, it’s interesting to note that the character isn’t referred to by her title name in the film. Instead, after a close-to-death incident that grants her psychic powers, she feels compelled to safeguard three women who are marked by a villain with spider-like abilities. The storyline appears to have undergone significant changes during post-production and reshoots, resulting in some jarring visual effects and costume designs. Regrettably, the film’s quality is such that it can barely claim the title of the worst superhero movie of the last decade, having been surpassed by the release of Morbius a few years prior.

1. Morbius (2022)

On April 1, 2022, the release of Morbius felt more like an elaborate April Fool’s Day joke on moviegoers. The final product hardly resembled its trailers, with entire scenes and storylines seemingly excised, giving the impression that the film had been significantly altered during post-production to ensure it was unmistakably not part of the Marvel Cinematic Universe.

Unfortunately, clarity was one of the few things Morbius managed to offer, as this vampire movie seemed to have been cobbled together haphazardly by Dr. Frankenstein, piecing together disparate storylines and characters that didn’t fit cohesively, only for them to be jolted into a disjointed existence. Sony has produced some outstanding Spider-Man movies, both in live-action and animation. However, their attempts at Spidey spin-offs have been the most disappointing development in superhero cinema over the past decade.

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2025-04-17 16:54