A Review of 28
Years Later by Nick Olszyk
Distribution Service: Theatrical
MPAA Rating, R
USCCB Rating, NR
Reel Rating, One and Half Reels
In 2002,
when British unknown Danny Boyle premiered 28 Days Later, the zombie
genre was largely dormant, but his low budget horror film raised it back to
life. It introduced several tropes that became well established over the next
two decades including fast moving zombies, virus outbreaks, and small human
colonies that turned out to be dystopian nightmares worse than the undead
outside the fence. Five years later, he produced the sequel 28 Weeks Later,
which was a competent but by-the-books entry. Now comes 28 Years Later,
which – unlike the previous entries – attempts to grapple with the
philosophical quandaries posed within this universe. It succeeds for the first
two acts but sadly disintegrates in the third. Yes, there will be another one
next year, but there is less anticipation now than before.
As the
title implies, it has been twenty-eight years since the Rage virus ravaged
Great Britian, which has been quarantined by the rest of the world, which
apparently has continued the natural course of history since 2002 (smartphones,
botox, etc). Within this now largely abandoned island, there are still small
pockets of civilization, including Lindisfarne, a tidal island in Scotland
whose occasional connection to the mainland provides both protection and access
to resources. The story starts with Jamie (Aaron Taylor-Johnson) taking his
twelve-year old son Spike (Alfie Williams) on his first hunting expedition,
both of game and zombies. Spike is less concerned with the undead than his
ailing mother Isla (Jodie Comer), who is suffering from a debilitating mental
illness. When he learns of a mysterious doctor still living deep in the forest,
he secretly ushers his mother outside the safety of community for an odyssey
through many dangers to see if she can be saved.
Like a handful of directors, Danny
Boyle has a distinct style that makes his works instantly recognizable. In 28
Years Later, these trademarks are on full display: crooked camera angles,
archival footage, fast cutting, and compelling musical juxtaposition. All of
these give the film a manic and claustrophobic tone. He doesn’t need jump
scares because there is always a sense the zombies could come at any time. As
pure work of action, the film does incredibly well.
As a work of truth, however, it
lacks bite. When Spike encounters his first zombie and is hesitant to kill the
creature, his father informs him that “the soul is in the mind, so when the
mind goes, it isn’t there.” While there are other ways to justify zombicide,
this has horrific implications for the not undead. If Spike’s mother continues
to decline, does this mean she will not be human? No wonder he risks everything
to save her. He does find the elusive doctor, who has created a macabre museum
of bones, including a tower of skulls. The purpose, he tells the terrified
tween is “momento mori, remember death.” This phrase has deep Catholic roots,
but this isn’t what the physician means. When he diagnoses Isla with brain
cancer, she volunteers not only to be euthanized but, in a manner of minutes,
turns into the newest member of his collection. To the swelling chords of the
uplifting score, Spike places her now bone white face atop the tower and turns
her to see the rising sun. It’s supposed to be the beautiful climax of the
film.
It isn’t. Instead, it’s a disturbing
reminder that, even without a zombie apocalypse, the United Kingdom has
embraced a culture of death. Ironically, parliament introduced a sweeping
euthanasia bill months before this film’s premiere. It completely
undermines the first two-thirds of the movie which saw people go to great
lengths to preserve life, even that of an inconvenient newborn infant. Like the
small town, this is still a culture that, while preserving a Christian varnish,
has embraced a pagan attitude represented the voracious enemy.
I was excited for this film after
its amazing trailer
despite not having seen its predecessors. Like many films of the genre, it
fails to fully realize its potential to show heroic virtue amidst the most
horrid of circumstances. Fortunately, we have the lives of saints like Damian Molokai
or Anna Schäffer as examples. It ends with a bizarre reveal that sets up a
sequel, which has already been filmed. I am less excited for this one.
This article first appeared in Catholic World Report on June 27th, 2025.
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