You know that feeling you get when you watch something amazing and all you want is more? A sequel, a new season, anything to keep the story going. Like finishing a great book and flipping through the last few pages just in case there’s an epilogue you missed.
Sometimes, in special cases, a studio meets you halfway. The production team might also be equally invested in the story.
Think Game of Thrones, Rick and Morty, Mission: Impossible, Single Kiasi, Njoro wa Uba, they want to keep the story alive because they also deeply invested.
But on the flip side, you have studios that are fully aware of the demand, and their primary goal is to milk the IP as much and as long as possible. The follow-ups exist for the spreadsheet, for profit margins, share value, and investors. It’s never about the story.
Think of the recent Disney live-action reboots. Or that Universal Monsters shared universe they tried to force into existence.
So when news broke that 28 Years Later was officially happening, fans of the original films (28 Days Later and 28 Weeks Later) were generally excited. It’s been over two decades since we were first dropped into that gritty, rage-infected London. So is this return a genuine continuation or a cash grab, considering this is the first movie in a planned trilogy?
Back from the dead
28 Years Later picks up, yes, you guessed it, 28 years after the first outbreak. This third chapter is directed by Danny Boyle, who directed 28 Days Later but missed 28 Weeks Later.
It’s written by Alex Garland, with the original cinematographer Anthony Dod Mantle also returning. Jodie Comer, Aaron Taylor-Johnson, Alfie Williams, and Ralph Fiennes lead the cast, with Cillian Murphy serving as executive producer.
Something that’s always made these films stand out is how they’re shot using consumer video gadgets. The first was shot on Canon XL1 MiniDV camcorders, and this one was shot with iPhones, complemented by a few pro accessories. As mentioned earlier, it’s the first of a planned trilogy.
Synopsis
A group of rage virus survivors live on a small island. When one of them leaves on a mission to the mainland, he discovers secrets, wonders, and horrors that have mutated, not just the infected, but the survivors too.
The sound design and music are incredible in this film. The detailing in some grotesque moments is sharp, and the contrast with the quieter scenes makes abandoned places feel believable.
That unsettling poetic narration from the trailer is here, and the film uses sound to constantly remind you that this is still a horror film.
I thought the world was fascinating. You’ve got zombies that have been roaming around for 28 years. They made logical choices with the infected that are both cool and gross, especially if you love body horror. What you see in the trailer is just a small taste.
The film is more about living with danger than constantly fighting it. The rage virus is still around, but people have figured out how to build systems around it.
For a movie shot with iPhones, it looks really good. There are some fantastic sunrise shots, and even with the lurking horror, the woods still manage to look calm. The clean digital look is different from the grainy footage of 28 Days, but it still feels raw. Boyle even rigged together iPhones to shoot big chunks of the movie, which gives it this unsettling, personal look that kind of works.
The editing, depending on who you are, might or might not work in selling the horror. Without spoiling anything, the zombies see things differently in terms of colour, which from a creative point looks great, but could leave some viewers disoriented.
Alfie Williams as Spike was a surprise. I thought the focus would be Aaron Taylor-Johnson, but after the first act, the film leans into Alfie.
He becomes the emotional anchor, a child growing up in a weird, broken world. He balances the drama in a way that feels natural and holds his own against a heavyweight cast.
The infected have evolved. They’re smarter now, moving in packs, forming hierarchies. Some lead. Some are bloated, crawling nightmares. The makeup team did a great job making these creatures feel real and grounded in the world they live in.
As a horror movie, it works. It’s unsettling in how it makes the infection feel normal. The third act explores death in a way that really disturbed me, but it’s in the small, quiet moments. Let me the imagery is effective in selling constantly creating sense of horror in your head, just like the movies poster.
The ending ties into the beginning and sets up what’s possibly coming next, but some people might not like it.
Where it stumbles
As mentioned earlier, the editing can be chaotic. Quick cuts, zombie kill montages, random clips,it sometimes feels like a Jason Bourne movie. I get that it’s a style choice, but I can see people finding it frustrating.
If you’ve seen The Last of Us or A Quiet Place, parts of this might feel too familiar. Father-figure dynamics, survival road trips, whispered conversations in the dark. I wouldn't call this lazy wrting, but it's not fresh either.
The ending might be an issue. No spoilers, but the final five to 10 minutes shift so hard in tone it almost feels like a parody. Think Avenger or Power Rangers moment. It connects to what’s introduced earlier, but it might be too much for some.
It gets graphic, which is expected, but there were scenes that made me look away. The imagery and makeup go all in. You’ve got bloodthirsty, naked zombies running wild, and the camera doesn’t shy away.
Some characters make weird choices. You know those “why would you do that?” moments? Yeah. That happens. Especially with Alfie’s character once he has to return to the mainland.
Final thoughts
28 Years Later is weird, ambitious, and unsettling. Shot on iPhones, but still looks great. Sound design is top-tier. This isn’t a smooth return or a crowd pleaser, but it’s not a lazy cash grab either. There’s heart here. Strong performances. Body horror. Creepy imagery. A clear sense of where it’s going.
The editing might drive you up the wall, and the ending might make you want to pull out your hair, but underneath all that is a story about survival, family, and figuring out how to live in a region that never went back to normal.
If you loved 28 Days Later or 28 Weeks Later, you’ll appreciate what this film is trying to do, even if it doesn’t always land. It’s not perfect. But it’s not boring. And in this genre, that’s saying a lot.
