With thrumming sound effects and an ominous atmosphere, Boyle focuses on a community of survivors of the quarantined and overrun British mainland, still wracked by the so-called “Rage Virus” of the first film. Other nations patrol the British Isles with dogged paranoia, but one remote outcropping – based in Lindisfarne, where access to the mainland is only possible during brief low tides – allows for an isolated, agrarian community to develop, recalling the distant past in its old-fashioned village and use of bows and arrows rather than guns.
Ralph Fiennes, Jodie Comer and Alfie Williams in 28 Years Later (Photo: Miya Mizuno/Sony Pictures via AP) square FILM REVIEWS Lollipop is heartbreaking - we may have found the next Ken Loach
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But it’s the world-building in 28 Years Later that makes it shine: an unlucky member of the Swedish Navy, washed up on shore, introduces Spike to his first iPhone; the horrifying sight of the naked “Alpha” zombies who are smarter, bigger, and faster than the others; the grimacing, earthy resourcefulness of the survivors and their humble roles as seamstresses and farmers. Add these details to the decades of trauma and loss that haunt Spike’s parents and you have the makings of a great post-apocalyptic tale.
Unfortunately, though, Boyle goes out on a limb in the final moments of the film, setting up the story for a trilogy by introducing, last-minute, a group of goofy interlopers, led by a cartoonishly evil Jack O’Connell, duly dispatching zombies. It’s too funny and sprightly to match the downbeat, serious spirit of the rest of the film; it feels curiously glib given the focus on “memento mori”. It’s a shame that such a strong sequel ends on such a bum note.
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