When director Danny Boyle and writer Alex Garland first developed 28 Days Later, the film was meant to act as a standalone story. No franchise or big box office draw. But the gritty adventures of Cillian Murphy fighting for his life against a rage virus outbreak drew audiences—so much so that the $8 million budget film earned a whopping $84.6 million worldwide in 2003.
When 28 Weeks Later released in 2007, Boyle only produced the film and Juan Carlos Fresnadillo took the directing reins. It showed. The fast cuts, dynamic camera movements, and raw guerrilla style had disappeared. The grit was gone, but there’s something about zombie viruses and splattered blood that keeps us coming back for more.
Over two decades later, Boyle and Garland reunite for 28 Years Later and, just as they intended for the first film in the unexpected franchise, the latest rage crusade could easily be its own one-off story.
Essentially, you don’t need to take the time to watch the first two. There’s no “pick up where we left off,” or even a string of connection to previous storylines. Fans will grasp for some references but fail to find them. In many ways, they steered clear of so many missed opportunities to build a bridge from the original installments.
Toss the memories and you have a solid self-contained post-apocalyptic film with a grade-A cast including Aaron Taylor-Johnson, Jodie Comer, and Ralph Fiennes.
28 Years Later, the mainland remains quarantined. Rage-infected humans roam the lush green forests as buildings decay and wildlife flourishes. On a remote island off the coast of Scotland, a small community of survivors has built a life of their own—including Spike (Alfie Williams), who lives with his father Jamie (Aaron Taylor-Johnson) and his ailing mother Isla (Jodie Comer). As a rite of passage, Jamie takes Spike to the mainland to test his survival instincts and zombie-killing skills. Later, Spike returns once more to the infected territory with Isla, now in search of a doctor.
The film carries two distinct tones, with a noticeable shift partway through. It opens with a dramatic, serious atmosphere—Boyle leans into jarring flashback montages and a tense military voiceover that sets the grim tone. The first act is gritty and brutal, filled with moody jump cuts, bleak themes, and bloody arrows ripping through the skulls of the infected. Williams delivers a standout performance as Spike, anchoring the emotional core with unexpected depth for such a young actor.
But once Spike and his mother Isla embark on their own journey, the tone changes. Comedic elements emerge, thanks in part to Edvin Ryding as Erik, a naive and stranded Swedish soldier. One of the film’s most memorable turns comes from Fiennes, who plays a delightfully unhinged doctor—fully adapted to life among the infected with unsettling ease. The second half of the film delivers clever dialogue and genuinely funny moments, which might surprise fans of the original’s bleak intensity.
Comer’s powerful and emotionally layered performance paired with Williams’ is the heart of this film.
That said, I was slightly disappointed in the creature SFX makeup. There’s little explanation for the infected’s wildly inconsistent appearances—some are roided-out WWE monsters, some are emaciated, while others are obese slugs with good eyeliner. The lack of consistency feels distracting in a world otherwise grounded in visceral realism.
Don’t get me wrong, the film delivers plenty of gore and graphic moments. However, with 28 Years Later, I was hoping for a deeper exploration of how the infected have evolved over the decades, along with a stronger sense of environmental decay. After all, zombie fans have been served some truly impressive special effects and creature designs in recent years—like those in The Last of Us.
We’re craving more intensity, more shocking visuals, and a richer portrayal of the infected’s transformation.
If you approach 28 Years Later as a standalone film, it’s an enjoyable and engaging watch with strong performances and a fresh tone. However, if you’re hoping for clear ties or deeper connections to the first two installments, you might find yourself disappointed by the lack of continuity.
In theaters Friday, June 20th.
