Boyle with Rage Again

28 Years Later (Danny Boyle, 2025)

When the news was announced that Danny Boyle and co-writer Alex Garland (a dead ringer for DJ Yoda) were returning to the post-Rage blighted Britain, which they first unleashed with their horror film milestone, 28 Days Later (2002), it instantly became the most anticipated film of the year for this film blogger. It was an absolute game changer to the the zombie/infection subgenre. The film's innovation and influence credit it as the patient zero in all things zombie related throughout the Noughties and 2010s. Therefore, its creators seemingly have a mighty task in delivering a follow-up equally as exciting, fresh  and terrifying with 28 Years Later (2025).

Decades after the Rage virus outbreak, the entirety of Great Britain has been quarantined off from the rest of the world. Survivors exist, but they are remotely scattered. Lindisfarne, also known as Holy Island, off the Northumberland coast of England, is one such example. Separated from the mainland by a natural causeway which reveals itself  in low tide, the survivors have become a living community. Amongst them, is twelve year old Spike (Alfie Williams). He must undergo a rite of passage, where he will cross over to the mainland with his father, Jamie (Aaron-Taylor Johnson), and put the hunting skills he has learned to the test. To kill your first infected is akin to a blooding in hunting; symbolising Spike's transition from a child to a man. These important steps into a proverbial larger word, will become the film's drive. This rite of passage will also play heavily in the plight of Isla (Jodie Comer), Spike's mother, who is afflicted by an illness and bed-ridden.

A special mention deservedly goes to its break out star, young Alfie Williams. Child actors tend to over act, but his performance is first rate in 28 Years Later. That's no mean feat when you're performing opposite experienced actors Jodie Comer, Aaron-Taylor Johnson, and the consistently great Ralph Fiennes. Big fan of Comer and Johnson's Geordie accents. 

We learn that the Rage Virus has evolved since the outbreak. The infected no longer starve to death, as first shown in Boyle's prior film. They are able to eat; therefore, they no longer starve to death like before. The outbreak's spread to Paris, as shown in the epilogue of 28 Weeks Later (2007), has been successfully driven back. It's an obvious retcon by Boyle;  nonchalantly explained in a blurb of text. That would explain why Boyle's vision of an isolated Britain, with European fleets around its waters, comes across as a possible allegory to Brexit. An island isolated from the rest of the modern world; one that revealed to have regressed to the past, where they use bows and arrows again. Bereft of modern tech and weaponry, various scenes from Henry V (1944), particularly where archers are drawing their bows, are intercut with the Holy Island's inhabitants. The solitary flag of St. George overlooking the North Sea.

Technically, 28 Years Later's attention to detail is on par with George Miller's post-apocalyptic Mad Max universe. All the more remarkable that returning director of photography Anthony Dod Mantle, shot it all with iPhones. Some novel visual treatments; like red night vision scenes, are particularly effective. The film also has its own brand of bullet-time; more accurately arrow-time, is a mixed result. Initially impressive, but its over use quickly becomes gimmicky A major draw, is how evocative it is of sixties and seventies era British films in its visual style and feel. Holy Land has a wonderful Summerisle vibe, along with John Wyndham's The Day of the Triffids. The latter, having already been a major source of inspiration for the first film. 

The virus's evolution has resulted in three distinctive types of infected: the fast ones that we're accustomed to from the previous entries; Slow-Lows are grotesque and blubbery humanoids which crawl on their bellies and scavenge for worms and other earth grub. The most dangerous of them all are Alphas. These specimens have been affected by the virus also serving as a growth steroid; turning them into huge, hulk-like humans, hung like a horse. They possess superhuman strength, speed and resilience and the most formidable for any armed group. Alphas are also more intelligent than their other brethren; even acting as pack leaders to other infected.

28 Years Later has three disjointed acts of varying quality. In the first act, we get to experience Spike's first trip to the mainland with Jaime. It is by far the best part of the film. Spike spends more time with his mother in the remaining acts, where we're also introduced to shipwrecked Erik Sanqvist (Edvin Ryding), a Swedish NATO soldier, who provides a window to the rest of the world. The iodine tinted, Dr. Ian Kelson (Ralph Fiennes), a Col. Kurtz-like loner is the remaining character introduced in Spike's coming-of-age tale. Plot contrivances are more apparent as the film progresses. The third act in particular is much slower paced, and very much drags at times, in its emotional development to Spike's story arc. Without delving into spoiler details, one distinctive scene attempts to pull a heartbreaking sequence, but Boyle's execution is so cumbersome, that it feels unearned and weirdly comedic. Therefore, the constant emphasis on memento mori fails to truly resonate.

Bizarrely, the final scene of 28 Years Later, one that bookends the intro, where a group of children nervously watch Teletubbies during the initial spread of the outbreak, and eventually leading to Jack O'Connell's character in the second chapter of this new trilogy, is perhaps the most jarring scene in the entire film. Brits will no doubt be familiar with who O'Connell's cult is based on, by their hair and wardrobe, but to the rest of the world, not so much. If anything, the final moments, which are beyond surreal and discordant with the rest of the film, might actually dissuade anyone even bothering with Nia DaCosta's follow-up, 28 Years Later: The Bone Pile (2026), next January, when people do some inevitable Googling.

Technically, 28 Years Later's attention to detail is on par with George Miller's post-apocalyptic universe. All the more remarkable that returning director of photography Anthony Dod Mantle, shot it all with iPhones. Some novel visual treatments, like a red night vision scenes, are particularly effective. The film also has its own brand of bullet-time, more accurately arrow-time, that is remarkable, initially, but is over used too much in the film and winds up feeling gimmicky for the remainder. A major draw, is how evocative it is of sixties and seventies era British films. Holy Land has a wonderful Summerisle vibe, along with John Wyndham's The Day of the Triffids, the latter, having already been a major source of inspiration in the first film.

Overall, Messrs Boyle and Garland have delivered a perplexing film. This ought to have been the film of the year. It's riddled with plot holes, ridiculous contrivances and tonal inconsistencies, and yet, it still manages to be an entertaining post-apocalyptic spectacle. The first act is cinematic heaven; it's just a shame the other two aren't on that same level. This is obviously faint praise, but as a first time watch, 28 Years Later is one of the more enjoyable releases from what's been an otherwise disappointing year thus far for films. Whether or not, I'll still feel the same way about it after a repeat viewing, remains to be seen.

Boyle's Lore

28 Days Later (Danny Boyle, 2002)

Although Danny Boyle's post-apocalyptic chiller 28 Days Later (2002) was technically not a zombie film, it undoubtedly spearheaded a revival in zombie cinema. The film would also pave the way for British horror finding its feet again after the wilderness that was the nineties. Thirdly, 28 Days Later would regain Boyle's reputation after his lacklustre film adaptation of Alex Garland's The Beach. Both Boyle and Garland would team-up and deliver what's arguably a modern British classic film, along with laying down the blueprint for zombie cinema in the twenty-first century.

In terms of its premise, Garland's story takes obvious inspiration from John Wyndham's The Day of the Triffids. The protagonist, bike courier Jim (a relatively unknown at the time Cillian Murphy) wakes from a coma in a deserted hospital following a cataclysmic event —  a major parallel. Alone and confused, Jim gradually assesses the severity of the situation whilst wondering the desolate streets and landmarks of London. The absense of a population in a vast city make these scenes completely rivetting viewing and have automatically become associated with the film ever since.

 

 

Like most post-apocalyptic films, 28 Days Later's protagonist realises he isn't quite alone once he encounters one of the Rage infected. It's a disturbing scene where Jim walks into a church with the words "REPENT THE END IS EXTREMELY FUCKING HIGH" scrawled on a wall, followed by the sight of a mass pile of corpses before an afflicted priest spasdmodically twitches towards the camera. Unlike zombies, the infected are living ghouls driven by rage. Originating from an outbreak of a lab virus during the film's prologue. A scientist warns a group of animal rights activists that the chimps they're freeing also carry mankind's doom. His words aren't heeded.

Jim isn't the only survivor in Blighted Blighty; the battle-hardened Selena (Naomie Harris) hasn't had the fortuity of sleeping through the horrifying outbreak. The machete wielding maiden does not hesitate in hacking to death her companion Mark (Noah Huntley) after he contracts the Rage virus. Selena's character development is like the ying to Jim's yang in terms of their character arcs. Chinks in her stoic armour appear with their potential romance.

 

With Jim coming to terms with the deaths of his parents and a new reality, he embraces a new family; as well as the aforementioned Selena, they find Frank (Brendan Gleeson), a cab driver living in his high rise flat, and his young daughter Hannah (Megan Burns). The bonds formed with these individuals becomes invaluable for Jim's well being as it's evident in the form of a nightmare where he fears losing them and feeling alone in the world again. While on guard duty, Frank wakes Jim and assures him not to worry and Jim responds with the line, "Thanks, Dad!". 

Post-apocalyptic films tend to be on the depressing side, and while much of 28 Days Later abundantly offers the same nihilistic feeling, there are a few choice scenes that are a welcome break from its bleak tone. Boyle's homage to the shopping scene from Dawn of the Dead (1978) is a prime example. In another instance, after escaping his execution from a band of military renegades, Jim notices a plane flying high in the sky; suggesting the rest of the world isn't quite as doomed as suggested.

A common element in many a horror or disaster themed film is the secondary antagonist. In this case it consists of a squad of soldiers led by Major Henry West (Christopher Eccleston) introduced in the third act. Potential survivors of the outbreak are lured via a radio message and offered safety from the virus. In reality, the signal exists to gather women for the horny platoon. This callousness is forshadowed by Major West's cold logic bridging the the world of the past with the world of the new with a disturbing summation

"This is what I've seen in the four weeks since infection. People killing people. Which is much what I saw in the four weeks before infection, and the four weeks before that, and before that, and as far back as I care to remember. People killing people. Which to my mind, puts us in a state of normality right now."

Much of 28 Days Later was filmed with crude digital cameras. Perfect  for shooting familiar locations under strict conditions back then. However, the low resolution picture quality is something of an eye sore in our high definition era. It might put off some folk. It's something I became accustomed to after watching the ancient blu-ray I own of the film (in the wrong aspect ratio). Not sure if any later editions were blessed with an improved print, but this visual quality lends to some unexpected noughties charm. The soundtrack on the other hand, has aged remarkably well.

Today, 28 Days Later has left behind a legacy which outshines its meh follow-up 28 Weeks Later (2007); it reinvigorated zombie cinema after George A. Romero had set the template. The film kick started fast zombies. They might have appeared as early as Umberto Lenzi's Nightmare City (1980), but it wasn't until the success of 28 Days Later that everyone else followed suit. It was a game changer. Its influence has not only spread to other acclaimed zombie films since then, such as Yeon Sang-ho's Train to Busan (2016), but its very DNA goes beyond the realm of cinema by extending to television, fashion and politics. 

With the news of Boyle, Garland and Murphy returning on 28 Years Later (2025), it will be interesting to see where the film will go and whether it will take inspiration from the spread of the COVID-19 global pandemic, which drew comparisons with the original film at the time.

Down with the Sickness

The Sadness (Rob Jabbaz, 2021/2022)

Feeling confident to share that I've pretty much seen what 2022's movies had to offer; or at the very least, anything that was of interest to me. Therefore, it's time to make things right by spending a bit of time discussing Rob Jabbaz's Taiwanese gorefest, The Sadness (2022) from earlier in the year. Sticklers for precise film release dates might class this as one of last year's movies, but The Sadness only made its way to most people's radars this year.

The Sadness is the type of depraved horror film that's far too brutal and sadistic for even today's mainstream horror standards. It's remarkable how a pandemic can turn the world on its head and in the case of The Sadness, it's within a blink of an eye. Its breezey pace kicks in relatively early and doesn't really let up until around the big finale. Jabbaz's film is essentially a showstopper of misanthropic nihilism and brutal depravity; seldom seen to this degree. Another example of the type of product that Hollywood won't or cant produce! What's equally amazing is that it was funded via cryptocurrency and a camgirl business. Twitch thots - take note!

The premise itself is the standard outbreak formula; which hardly makes it groundbreaking. You've seen it all before; albeit with some not so subtle allegories to COVID-19 and vaccinations. The film's young couple are your typical template, but they do thankfully become compelling enough to make the viewer feel invested in their plight throughout the progress of the film. Comic book heads are right to make comparisons to Garth Ennis' Crossed. Not meaning to come off as a contrarian, but I wasn't a fan of those ploddingly-paced, The Walking Dead style books. To its credit, Jabbaz's The Sadness condenses shocking depravity in ninety-nine minutes without having to make me wait long and that's probably a good reason why I don't mind its flawed writing so much. Delving into any further details about the film won't attract nor repel anyone since it's the type of extreme film where you just know whether this is for you or not. The Sadness is definitely for me.

Horror snobs might turn their noses at The Sadness for not fitting into the pompous category known as "elevated horror", but this was one of the most entertaining and engrossing outbreak/zombie films for your host since maybe Train to Busan (2016). Despite its faults, it really delivered in the entertainment department, and for that it get a respective nod from me, regardless.

The Sadness (Restaurant scene)

Rob Jabbaz, 2022