When 28 Days Later premiered in 2002, it introduced a gripping sense of everyday terror, as Cillian Murphy wandered through the eerily deserted streets of London, a city transformed by a devastating zombie virus outbreak. Fast forward to March 2020, and the dystopian nightmare depicted in the film became a reality as the Covid pandemic turned the vibrant capital into a ghost town. Where Murphy's character once saw Oxford Street filled with missing posters, today a memorial wall stands opposite Parliament, commemorating the 200,000 lives lost in the UK due to the pandemic.
It is in this altered landscape that original director Danny Boyle and writer Alex Garland have returned to their chilling universe with the highly anticipated sequel, 28 Years Later. In an interview with BBC News, Boyle explains that for contemporary audiences, experiencing a sudden life-threatening transformation—regardless of zombies—has heightened the sense of terror. What once seemed confined to the realm of fiction now feels alarmingly plausible. He emphasizes that the adaptation to Covid and the struggle to navigate a world marked by instability and vulnerability are central themes in the new film.
This latest chapter in the franchise sees the infected—victims of the lab-released Rage Virus—confined once again to British shores. As the rest of the world begins to heal, the remaining survivors in Britain are left to fend for themselves. Among them is a 12-year-old boy named Spike, played by Alfie Williams, who lives on Holy Island with his father Jamie (played by Aaron Taylor-Johnson) and his housebound mother Isla, portrayed by Jodie Comer. Spike has only ever known a feudal existence in this tight-knit community of 150 residents, connected to the quarantined mainland by a single, heavily fortified causeway accessible only at low tide.
In the film, the divide between adults and children transcends mere generational gaps; it reflects a deeper chasm between those who remember life before the outbreak and those born into this post-virus reality. With a needs-must attitude, Jamie takes Spike on a rite of passage hunt on the mainland for his 12th birthday. Just as humanity appears to adapt, so too have the infected—now more evolved. Some crawl, while others, known as Alphas, lead fast-running packs. The Rage Virus, it seems, never truly subsided; it evolved.
Boyle reveals that the decision to feature a young lead character was deliberate, as horror often draws on themes of innocence. The film also explores the complex truths that adults choose to share or withhold from children in a bid to protect them. Comer relates to this emotional tension, drawing from her own experiences with her parents. She reflects on the moments when she wished they had shared more with her, as it might have led to different choices or more time with loved ones. Ultimately, she acknowledges that such decisions stem from a place of love, a sentiment mirrored in her character, Isla.
Isla, while clearly suffering from illness, continues to care for Spike, oscillating between moments of lucidity and confusion brought on by years of living under siege. The character's reality is intricate and layered, adding depth to the narrative.
Comer is no stranger to intense storylines, having played roles in various crisis scenarios, including a mother navigating an apocalyptic flood in The End We Start From and a care home nurse in the Covid drama Help!. However, 28 Years Later marks her first encounter with the horror of zombies. So, what is it like to be pursued by the infected? She describes the experience as thrilling. The film's gritty realism is emphasized by the absence of CGI or green screens; infected actors often spent hours in the make-up chair to achieve the terrifying effects. "These performers aren't taking the pace off," Comer laughs, highlighting the intense atmosphere on set.
Isla's character displays a remarkable range, transitioning from debilitating illness to moments of decisive action, such as helping deliver a baby or expertly dispatching an infected individual. Comer admits that navigating the emotional fluctuations of Isla's awareness was the most challenging aspect of her role. Boyle's films, known for their exploration of social truths, reflect in the subtlety of Isla's relationship with Spike. He aims to impart lessons on humanity that extend beyond traditional notions of masculinity.
Reviews for 28 Years Later have been largely favorable. The Telegraph's chief film critic, Robbie Collins, awarded the film five stars, calling it "transfixingly nasty" and noting it as Boyle's best work in years. Similarly, The Times' Ed Potton also gave it five stars, labeling it possibly the best entry in the series and praising the performances, particularly that of Jodie Comer. However, not all critics were as enthusiastic. The Independent's Clarisse Loughrey rated it three stars, noting that the film sometimes felt overly metaphorical. Guardian critic Peter Bradshaw also assigned three stars, citing tonal uncertainty.
Boyle envisions this film as the beginning of a trilogy, with plans for Spike to appear in all three installments. The second film, already shot by director Nia DaCosta with Garland writing, is set for release next year, while Boyle hopes to return for the third if it is green-lit.
When questioned about his ambitious return to the horror genre, especially with the zombieThe Last of Us dominating popular culture, Boyle cites an urgent political undercurrent. He notes that Spike's journey reflects a stagnant culture on the island, one that is not progressive and looks back longingly at "halcyon days." He describes this feudal lifestyle as deceptively safe yet ultimately regressive—a realization that Spike comes to understand.
Boyle sees the film as a reflection of today's political climate and its inherent dangers. "I think putting that in a horror film is a good thing," he states, acknowledging the genre's ability to illuminate societal fears. He emphasizes that horror films resonate amid real-world conflict, feeding off the anxiety that significant change could be on the horizon.
In the original 28 Days Later, the Rage Virus was developed by forcing chimps to watch graphic video footage. When asked if he sees parallels with today’s social media landscape, Boyle responds affirmatively, highlighting how personal algorithms amplify polarizing content. "We’re encouraged to communicate through these platforms," he remarks, holding up his phone. "They’re incredibly powerful and easily manipulable." However, he contrasts this with the authentic connections fostered through cinema, underscoring the fragility yet vital importance of shared human experiences.
Ultimately, for Boyle, 28 Years Later is about confronting terror as a collective, blurring the lines between real and imagined horror. Two decades on, we are all too familiar with the unsettling overlap of these realms.
