28 Years Later

UK Release Date: 19 June 2025

Director: Danny Boyle

Cast: Jodie Comer, Ralph Fiennes, Christopher Fulford, Chi Lewis-Parry, Jack O'Connell, Edvin Ryding, Aaron Taylor-Johnson, Alfie Williams

Runtime: 115 mins

Rating: ⭐⭐⭐⭐⭐

Review:

Danny Boyle, off the back of a six-year directorial hiatus, wastes no time at all to push every conceivable boundary in 28 Years Later. His self-obligation to seek technical innovation is triumphant. Utterly absurd filmmaking - can't possibly fathom the level of experimentation involved in his production process. Frantic, quick cuts, choppy editing and distorting frames manufacturing a bewildering viewing experience. Sharing infected encounters in a similar manner to how natural wildlife would be captured. Sensational instances of infrared providing the barbaric perspective of the rage virus. 

However, the decision to shoot 28 Years Later entirely on the iPhone 15 Pro Max is Boyle's boldest instance of invention. Working in full creative freedom with cinematographer, Anthony Dod Mantle, to capture their unique and groundbreaking vision. Low-to-the-ground mounted shots captured on a custom built rig contrasted by wide, expansive drone shots - an ingenious juxtaposition of scope. Splashes of blood on the lens, shudders of the frame as arrows fly past, embers of a blazing fire rising upwards. Staggeringly beautiful imagery that in another's hands could easily come across as irresponsible. 

Genre-bending, Edinburgh band, Young Fathers, deliver what appears to be a career defining piece of work in their film debut. A fresh perspective on the collaborative possibilities involved when composing. A blend of beautiful, hypnotic lyricism and stirring experimental instrumentation that is filled to the brim with life and euphoric energy. At the same time, deviating to deliver necessary audible expressions of aggression. Angry, rock-esque roars echo throughout like a frightening alarm. Utterly demonic whilst remaining thoroughly entrancing. Even displaying the ability to expertly incorporate Taylor Holmes' symbolic reading of Rudyard Kipling's poem Boots into the score in an effort to unnerve and dishearten. 

Despite the vicious horror illustrated throughout the narrative, Alex Garland's script allows 28 Years Later the patience to bask in its well-earned emotion. Honing on in the intimacy of a child's coming of age allowing a level of poignancy seldom depicted in mainstream apocalyptic film. Delicate character moments between mother and son providing graceful respite from the horrors of the mainland. Although, much like the rest of the creatives involved, Garland isn't afraid to develop suppressed ideas of mutual rage. Uncontrollable outbursts and destructive displays from non-infected written to appear just as bestial as the act of a spinal cord being ripped out bare-hand by an Alpha. Depicting many of the film's focal points as metaphorically infected, mirror images of one another despite the drastic chemical differences. "There were so many dead. Infected and non-infected alike. Because they are alike."

In his breakthrough role, Alfie Williams' portrayal of 12-year-old Spike is extraordinary. Not only holding his own against seasoned veterans but outperforming them. His vulnerability as he grows in confidence as a result of the film's events is fantastic. The unwavering reluctance to accept the importance of death before a complete loss of innocence. Opposite him, a beautiful but agonising performance from Jodie Comer as his ill-ridden mother, Isla. Confused, muddled but ultimately devoted and kind-hearted. It's the tender warmth of their relationship that results in one of the most devastating scenes ever put to film.