28 Years Later Movie Review (Spoiler Free)

Days turned to weeks, weeks turned to years. Britain’s biggest nightmare is back on the silver screen with a new chapter. But just how infectious is it?

Genre: Drama / Horror 

Director: Danny Boyle

Cast: Alfie Williams, Aaron Taylor-Johnson, Jodie Comer, Edvin Ryding, Christopher Fulford, Ralph Fiennes, Stella Gonet, Amy Cameron, Rocco Haynes & Jack O’Connell.

Run Time: 115 min.

US Release: 20 June 2025

UK Release: 20 June 2025

German Release: 19 June 2025

Twenty-three years after the release of this infamous British rage-epidemic horror flick, seventeen years after the first sequel saw the light of day in cinemas, the long-awaited third instalment hits theatres, seeing Garland returning as writer, as well as Boyle coming back to direct. Is it everything one looked forward to? Yes and no. The director delivers an incredible visual spectacle not yet seen in this franchise. However, the story is another thing; while mostly pleasing, it has its shortcomings. So, let us get straight to it, as we take a shot at my review for 28 Years Later.

Twenty-eight years after the second outbreak, the rage virus has been eradicated in continental Europe, while Great Britain and Ireland remain under quarantine. A group of survivors live on a small island, not far from the mainland. When one of the islanders leaves on a mission, he encounters secrets, wonders, plus horrors he didn’t contemplate.

Both the director as well as writer have been expressing interest in returning to this world for years, having been unable to do so for the 2007 sequel, due to scheduling conflicts. Sadly, plans for a third entry were delayed due to film rights, falling into production hell in 2015. Eight years later, the directing/writing duo intended to see the project eventually enter assembly. Finally, in 2024, it was announced that the new sequel had started development, intended to be the first in a new trilogy.

The screenplay might be the most divisive part of this zombie survival feature, trying to recontextualise the genre once more. Alex Garland, who teams up again with the British regisseur, fabricated a script that focuses primarily on the human drama, weaving in the epidemic terror in sprinkles. Nonetheless, more often than not, the abrupt shifts in ambience are jarring, leaving some of the previously established beats unfinished. Especially the end scene, suffering from tonal shock, feels like a completely different movie.

That said, other than previously mentioned troubles, the narrative is effective in what it tries to accomplish, especially the first third, including the opening, contains some of the most visceral, gory plot segments. Focus of the premise is a coming-of-age post-epidemic ritual, set in three acts. Number one is a father-son tale, in which Spike, who idolises his father, tries to meet his expectations. It is a tale of innocence, together with the result of it being shattered.

The second arc slows down the pacing dramatically, yet this gives it time to explore the relationship between the young boy and his mother, as they embark on a journey to find a specific someone for help, surveying topics of life, death, just like generational trauma. The integration of foreign soldiers was unnecessary, nearly halting the story’s flow completely. The upside is that it broke the tension by adding some light humour. The final act is a matter of acceptance plus growth, as the young protagonist comes to terms with specific outcomes.

Conversations, similarly to those in the original, are stripped down to pure basics. Doused in philosophical, just like spiritual subtext, the dialogues handle these themes with masterful simplicity. Furthermore, they possess an emotional anchor that grounds the film further. 

The young Alfie Williams gives a powerhouse of a performance, carrying much of the picture by himself. Being the main protagonist, Spike, the narrative mainly revolves around his perception of the world, as he takes his first steps out of the safety of his village, into the dangerous British mainland. Paired with a feeling of responsibility for his family, especially his mother. He ventures on an adventure to seek help. Williams anchors the plot by giving a striking emotional portrayal

Jodie Comer gives her role a vulnerable but powerful existence. She plays Spike’s mother, Isla, who, in her own path, needs to deal with the aspect of mortality and immortality. I don’t want to give too much away, so I’ll simply state this: Comer’s rendition gives Isla a grounded presence that makes her relatable. 

Aaron Taylor-Johnson gives a gritty, down-to-earth portrayal as Jamie. In his son’s eyes, a hero, Jamie is a flawed human being who tries to navigate his family, the best he can, through the apocalyptic landscape. This adds realistic layers to his character. Ralph Fiennes makes his appearance in the last third, as Dr. Kelson, being the movie's moral core.

Shortcomings emerge when it comes to the townsfolk, who are not fleshed out enough, falling flat. Jack O’Connell appears first at the very end, during the last scene, in the most tonally crass shift. 

The camera work is nothing but impressive. In cooperation with Anthony Dod Mantle, who is a longtime collaborator of Boyle’s, the duo created a masterfully looking apocalypse epic. Shot mostly on iPhone 15 Pro Max, to move lightly through the nature of Northumbria, without masses of equipment. The imagery obtained incorporates a cinematic style of mobility that looks raw and experimental. Most impressive are the bullet-time shots during hunting sequences, which were obtained by employing a rig of up to twenty phone modules. 

The 2.76:1 widescreen aspect ratio was chosen for tension purposes, forcing audiences to take in all the imagery, as threats could be hiding anywhere. The intercuts of Henry the Fifth segments are used as metaphors, drawing back to more primitive yet heroic times, interspliced with the chant of Rudyard Kipling’s poem “Boots”, alluding to a foreboding. While effective, its repetition overstays its welcome, feeling pretentious at the end. The effects blend practical gore make-up with polished CG. The mutated infected “Alpha” is shrouded in mysterious danger, utilising controlled cinematic framing, for its power plus speed. 

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Verdict: It is best to watch this movie without any expectations, especially setting aside what the trailers revealed, since it is misleading. If you are going in, awaiting a father-son The Road adventure, set in Danny Boyle's apocalyptic Britain, you will be disappointed. This third chapter in the British “zombie” franchise tries to redefine the genre, sounding and looking more experimental than ever! Alfie Williams gives a breakout performance as the young protagonist Spike, with Aaron Taylor-Johnson, Ralph Fiennes, just like Jodie Comer giving fantastic supporting renditions. Alex Garland’s script is a personal, introspective look into a post-viral breakout society, trying to survive, while the dialogues are rich in emotional subtext. More often than not, it loses its footing. The camera work is a visible milestone in cinematography. The one thing that truly brought the experience down was the ending. 28 Years Later obtains a 7.5 out of 10!

Are you planning on going to see 28 Years Later at the cinema? Though it has a few issues, I would recommend it. Let me know what you thought of the new Danny Boyle film. Thank you, as always, for reading!