A group of survivors of the rage virus live on a small island. When one of the group members leaves the island on a mission to the mainland, he discovers secrets, wonders, and horrors that have not only mutated the infected but also other survivors.
While a lot of people point to “28 Days Later” as the franchise’s high point, I’ve always gravitated toward “28 Weeks Later.” Seeing Jeremy Renner take center stage and witnessing that unforgettable opening chase left a mark on me. To me, the sequel amped up both the action and tension, outdoing the original. For a long time, there was endless talk of a third movie, but nothing ever came of it—until now. Director Danny Boyle and writer Alex Garland, who had previously taken a back seat as executive producers for the second film, are once again leading the charge for “28 Years Later,” which has fans buzzing. Personally, I met this news with some skepticism. By the time a series hits its third film, the quality can become a wild card, and this new installment is no different. Some sections showcase classic Boyle, but other moments feel strangely mismatched for the series.
At the end of “28 Weeks Later,” viewers watched as the infected made their way into France, suggesting the outbreak had spread beyond Britain. But “28 Years Later” rewrites this, insisting the virus never escaped the UK. The narrative picks up decades after the initial lab escape of the Rage virus. Like its predecessor, this film introduces a fresh set of characters, with no one returning from earlier entries. The story centers on a tight-knit group living on a tidal island, separated from the mainland by a single, well-defended causeway and high protective walls. Thanks to these precautions and constant armed patrols, their community has avoided any fresh flare-ups.
Among the residents, Jamie (Aaron Taylor-Johnson) lives with his ailing wife, Isla (Jodie Comer), and their twelve-year-old son, Spike (Alfie Williams). Convinced that Spike is old enough, Jamie brings him to the mainland for supplies. When they encounter a handful of lumbering infected, Jamie instructs his son to take them out with a bow—a coming-of-age task meant to steel him for what’s out there. That night, as they take refuge in an abandoned house, they notice smoke in the distance. Jamie assumes this is the work of Dr. Ian Kelson (Ralph Fiennes), a survivor rumored to be mentally unstable. Spike thinks Kelson might be able to help his mother, but Jamie considers the risk too great.
The following day, a new and more dangerous adversary appears: an Alpha, a mutated infected who is not only stronger and smarter but also able to lead others and strategize. Realizing the threat, Jamie and Spike make a desperate dash for their island home, barely making it across before the Alpha is stopped by burning barricades on the causeway.
Later, without Jamie’s knowledge, Spike decides to take Isla back to the mainland, hoping Dr. Kelson can diagnose her illness. Along the way, they run into an infected pregnant woman—Isla helps her give birth, but the mother quickly succumbs to the virus. The baby seems healthy, but soon another Alpha is on their heels. This time, Kelson appears in the nick of time, bringing them to his secure compound and examining Isla. Spike is then faced with the daunting task of getting his sick mother and the newborn safely back to the island.
“28 Years Later” shows flashes of what could have been a standout film. There are engaging moments, but as a whole, it doesn’t live up to the high bar set by Boyle and Garland’s earlier work. The first half, focusing on Jamie preparing Spike for the post-apocalyptic world, is particularly strong. The latter half shifts to Spike and Isla, with Isla urging her son to find happiness despite her worsening condition—a moving contrast that highlights the film’s exploration of hope and survival.
The addition of the Alphas is a smart evolution. Where the original infected terrified with their sheer speed and aggression, the Alphas take it further—they’re larger, smarter, and their presence is genuinely unsettling, almost reminiscent of iconic movie monsters like the Predator.
Still, the film feels split, almost as if it’s telling two separate stories: one about Spike and his father, the other about Spike and his mother. The switch between these two threads is abrupt, making it feel as if Boyle and Garland couldn’t settle on a single story and combined both. This split focus lessens the emotional punch of each storyline, leaving the film feeling more scattered than unified. Maybe these threads are meant to develop further in the next chapter, “28 Years Later: The Bone Temple.”
There’s plenty to praise, especially Anthony Dod Mantle’s cinematography. His work with Boyle in the past shines through, capturing the bleak beauty of the setting and the horror lurking within it. Jodie Comer stands out in her role, with both Aaron Taylor-Johnson and newcomer Alfie Williams delivering grounded, believable performances. Ralph Fiennes, although only briefly on screen, brings real weight to his part.
Some audiences might be put off by the film’s bleakness and quirks, primarily since it doesn’t always deliver the tension promised in its trailers. Several story threads and character moments are left unresolved, presumably to be picked up in future installments. The finale is so outlandish that it clashes with the rest of the film—though perhaps it will make more sense once the sequel arrives. In the end, “28 Years Later” offers some gripping set pieces, stunning visuals, and strong acting, but it comes across as more of a patchwork of interesting concepts than a fully realized story. I’m genuinely curious to see what Nia DaCosta does with “28 Years Later: The Bone Temple,” scheduled for release on January 16, 2026.
In Theaters Friday, June 20th
