Jay Rohr
28 Years Later delivers a reminder of how horrifying it is to grow up. This cinematic fever dream from director Danny Boyle and writer Alex Garland takes a lot of stylistic risks. Many of these are in service to a poetic coming-of-age tale, and how well they work will surely divide audiences. Though most viewers are likely to comprehend the metaphors and purpose of certain presentations, there’s no guarantee this thought-provoking story will be their cup of tea.
The movie centers on Spike, played by Alfie Williams in his first lead role. He and his family live in an isolated island community that’s surviving well enough in the aftermath of the Rage virus that ravaged the mainland. One day, he accompanies his father on a scavenging trip that involves visiting the blighted British Isle. There they encounter the hideous infected but also signs of a wider world Spike has never known. Realizing someone out there may be able to help his sick mother, the young boy decides to venture out into the nightmarish mainland to save her.
28 Years Later isn’t a run-and-gun nonstop display of action. That isn’t to say there aren’t several thrilling instances of bloody violence. Danny Boyle even manages to capture most in a stunning manner that emphasizes the impact of an arrow without slowing down the scene. The movie, however, is more concerned with the metaphorical journey Spike undertakes on the road to being an adult.
A recurrent them in all the 28… Later films have been this sense of a Rubicon. There is always a dividing line between realities characters can no longer inhabit. Those who strive to go backward always encounter calamitous consequences. 28 Years Later continues that by exploring things like mortality, the realization of parents’ imperfections, and the death of childhood. In many ways, that last one can be more terrifying than a zombie apocalypse.
Though when it comes to horror shows, the Rage-infected nightmares in this movie are top-tier terrifiers. They deliver plenty of gore to make the squeamish squirm. Fortunately, 28 Years Later wisely limits such occasions so that these displays have maximum impact. Meanwhile, there’s more at play than simply setting up stylized slaughter. For instance, at risk of spoilers, Spike’s first kill is an almost ritualistic rite of passage, and that’s not just me pretentiously reading into the film. It’s every clear that the filmmakers are trying to create metaphorical moments alongside horrific visuals.
As such, 28 Years Later utilizes a lot of interesting cinematic tricks. Portions of the film are largely implicative collages. Editing can be choppy, especially in instances where things are chaotic. Audio choices enhance the unsettling nature of events rather than creating any cool vibes. The Taylor Holmes recitation of “Boots” by Rudyard Kipling is one instance of this, but music is also used in a way that stirs as much discomfort as delight.
Visually, Danny Boyle takes some satisfying risks. Camera angles add to the disorienting nature of events, while never allowing for a stagnant scene. Sometimes grand vistas are on display which minimize main characters before jumping to closeups which remind viewers that these individuals are only focused on their immediate reality. After all, the splendor of emerald auroras in the sky is meaningless when being chased by a rage-zombie brute. All the while, cinematographer Anthony Dod Mantle keeps dark colors sharp. 28 Years Later has a certain crispness that aids its visual poetics.
The cast helps add to the potency of the picture. Aaron Taylor-Johnson (Nosferatu) is remarkably unpleasant as a scavenger dad doing his best to pretend life is in order. Jodie Comer (The Bikeriders) provides a tear-jerking display of someone coming to terms with leaving their child behind as they die. Ralph Fiennes (The Menu) is wonderfully awkward and tender as a different kind of mad scientist determined to leave some trace on the world. Alfie Williams plays the lynchpin that holds 28 Years Later together with equal displays of terror, innocence, and determination. His performance helps cement the sense of a young person’s journey into maturity and the hard decisions that requires.
One of the things that’s satisfying about many of the lead characters is their blatant imperfections. No one in this movie is necessarily making the correct choices, though their decisions make perfect sense in context. Like the best post-apocalyptic pictures, 28 Years Later is about humanity rather than the monsters it encounters. Any nightmares are merely a means to explore the human condition, which is shown here as heartbreakingly imperfect, leaving people to do the best they can.
Visually 28 Years Later is never dull. Its feverish collage of imagery often keeps quiet moments from feeling slow. Though, that said, some may find the chaotic nature distracting especially when emphasized by disquieting audio choices. Metaphorically, 28 Years Later is hauntingly poignant in certain parts. It’s observations on growing up alongside messages of memento mori juxtaposed against memento amoris are compelling. However, deeper meanings don’t guarantee delighted audiences.
28 Years Later is not going to satisfy everyone. Those looking for an action oriented bloody zombie bullet storm are likely to be disappointed. This is closer to a drama with horror elements than a power fantasy featuring wholesale slaughter. Even those inclined to the artsy risks Danny Boyle took may be put off by the copious amounts of blood, bone, and grotesque nudity. Not to mention the disorienting nature of the cinematic stylistic choices — audio, visual, etc.
Those who do find themselves tuned into the vibe will find a viscerally satisfying story. The horror here is nauseatingly juicy while being surprisingly meaningful. Danny Boyle has composed a hauntingly poetic motion picture that I strongly suspect will divide audiences. Not everyone will enjoy its stylization, but the bold visual and audio storytelling elements in 28 Years Later are risks that thankfully someone is taking. This is an artful, intelligent horror movie where the nightmare fuel comes from existence as much as the monsters on display.
