’28 Years Later’ Is an Incredibly Tense, Thoroughly Fascinating Zombie Tale

28 years later is never exactly “scary”, but it is constantly uncomfortable. Director Danny Boyle, Returning to the franchise he helped to create with writer Alex Garlandtells this last zombie tale with a Cinetic and captivating cinema Style that even makes the most banal actions disturbing. A walk in the woods. A touch of water. The sun lifting. You will never jump from your seat, but you will be on the edge all the time, and we think it is much more rewarding.

Together, you guessed it, 28 years after the “rage virus” has taken over the United Kingdom in the original 2002,, 28 years later Focus on a pleasant but troubled family living in a safe and isolated community. While the continent is filled with infects and has been quarantined by the rest of the world, this place is only accessible by a small gateway visible for a few hours a day. This is how Young Spike (Alfie Williams), his mother Isla (Jodie Comer), Papa Jamie (Aaron Taylor-Johnson), and the rest of the lively and happy community remained safe for decades.

For a good third of 28 years laterYou don’t know exactly what the story will be. We follow Jamie by bringing Spike to the continent for the first time as a way to present them to us as people and in the world in general. They see slow and large zombies and fast, fit, and even if the film takes a long time to be fully proving, it is constantly engaging thanks to our interest in the world and the specificity of the characters. We want to know more about all of this.

This is also reinforced by Boyle’s cinema, which brings so much from its brand techniques – jump cuts, weighted pulse music, useful sound and b -roll – to create a palpable discomfort which also maintains your mind in work. We look at a father and a son leap, but also think of this world from a multitude of different angles, while chewing our nails with fear. It is a powerful combination.

Finally, the film finds a goal, and it involves the character of Commer, Isla. She is sick and Spike is desperate to find her help, which takes them in a whole new adventure. Here is where to go and especially Williams can really flex their actor muscles. Williams may be a child, but he is a dynamic presence and easily carries the film. However, once they have become the goal, 28 years later Change a little. Boyle’s hyperenergetic style is resuming, almost in tandem with the more stimulating relationship between the mother and the son as opposed to the son and the father. It is here that we both see Spike and Isla in a different light, but it is enough for a change so that it is not immediately coherent.

Something that keeps everything consistent, however, is action and violence. You cannot have a film filled with tension and dread without a few earnings and boyle gives us a lot in the film. There are great battles, exciting prosecution and rapid moments of intensity that are all at any time. In addition, whenever there is a killing – whether human or zombie – it is carefully manipulated. With each bloody murder, the film slows down for a beat, and even throws a freezing frame at the time of death, we just understand the value of life on both sides. It is a fun and effective tool that is used throughout and you really feel like you are in the hands of a filmmaker with something to say.

Later, through somewhat confusing circumstances, Ralph Fiennes joins history as the mysterious Dr. Kelson. The story of Kelson is fascinating, giving both the film and his world a whole new perspective, which Fiennes comes back to life. His introduction also marks another change in the film, this one in an almost spiritual existentialism. This is welcome, it works, but it adds again to the slight inequality of the film after we have acclimatized to mother-son history.

It is really the only drawback of 28 years later. The characters are fantastic, the cinema is breathtaking, the action is intense and the story is emotional. It is so ambitious that there are only moments along the way where these changes let the film feel slightly disjointed, almost as if you had transformed the chain to something new. Whenever it happens, however, after a few minutes of confusion, we settle down because everything else is so good.

There are also scenes and ideas in the film that I don’t think I have already seen in a zombie film before. What would 28 years without humans would do an ecosystem? What human errors can dwell during this period? What are human features, if necessary, zombies still take with them? Is there an order for tingling zombies? 28 years later Constantly pulls on all cylinders, but also strikes you with a moment or an idea that pushes things to a whole new level, and you almost want there to be a whole film on this subject.

28 years later Isn’t that your typical zombie movie. Zombies in this world are an unhappy and undeniable reality and, during 28 years, they have evolved, like surviving humans. As a result, everything has a more anchored and relatable atmosphere, which makes it even more exciting. Boyle and Garland then allow us to explore this world and its characters in a way that keeps us interested, guess and diverted at the same time. Although the end is not as strong as the rest of the film, fortunately, it is the first film of a proposed trilogy, the second of which was released in January. We can’t wait to go back. There are still, so much to chew.

28 years later Open June 20.

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