A Film directed by Danny Boyle
28 Years Later updates us on the narrative thread from 2002’s 28 Days Later, largely sidestepping the events of 28 Weeks Later and carving its own path, both narratively and stylistically. Rather than adhering to the familiar (and frankly worn-out) tropes of modern zombie cinema, the film forges something wholly different – making it both unexpected for casual viewers and a breath of fresh air in an incredibly stagnant subgenre. To be honest, I’ve long grown tired of the Walking Dead-style zombie obsession that has dominated horror for nearly two decades. The genre has collapsed into a rut of repetitive themes and aesthetics, to the point that I generally avoid “zombie movies” altogether. And yes, I’m fully aware that the infected in the 28 franchise aren’t technically zombies, but they’re cut from the same cloth – just executed with a bit more nuance and purpose.
“28 Years Later (2025), directed by Danny Boyle and written by Alex Garland, thrusts audiences 28 years after the original Rage virus outbreak. A small island community—protected by a tidal causeway—represents one of the last vestiges of human civilization. The story centers on 12‑year‑old Spike, his ailing mother Isla (Jodie Comer), and his scavenger father Jamie (Aaron Taylor‑Johnson). When Isla’s illness worsens, Jamie and Spike embark on a harrowing rite‑of‑passage mission into the quarantined mainland to find a rumored doctor.”
That sense of purpose is especially apparent in Danny Boyle’s worldbuilding. Nearly three decades after the Rage Virus tore through the UK, the infection has mutated and evolved. We now see variations like the “alphas” – larger, more formidable infected – as well as slower, more degraded types that lurk in the woods feeding on worms and carrion. These evolutionary offshoots add depth, and show how much has changed since Jim first woke up in that abandoned hospital.
We also catch glimpses of the outside world – revealing stark contrasts between the UK and mainland Europe. These moments, while brief, paint a haunting picture of isolation and abandonment that further amplifies the film’s emotional gravity. It makes me wonder if they will further explain how the places outside of the UK view the situation there, as well as any precautions being made to ensure that the virus stays there and ONLY there.
At its core, 28 Years Later is a story about trust, betrayal, coming of age, hope, and the acceptance of one’s own mortality in a dire world. It’s a surprisingly slow-burn film, far more introspective than I expected, and just when you think you’ve got it figured out, Boyle yanks the rug out from under you. The film ends on a bold note, introducing a quirky new ensemble that instantly reminds you: this is still a British genre film, made by the same mind behind Trainspotting.
I may be in the minority here, but I genuinely found this to be more compelling than anything the zombie genre has produced in at least a decade. It channels the spirit of British post-apocalyptic classics like The Death of Grass and Day of the Triffids, offering something both grounded and surreal. With 28 Years Later set as the first in a new trilogy, 2026 feels a long way off, but if this film is any indication, the wait will be more than worth it.
