Boyle and Garland Deliver Outstanding Sequel ’28 Years Later’ That’s Thrillingly Alive

Boyle and Garland Deliver Outstanding Sequel ’28 Years Later’ That’s Thrillingly Alive

By Alex McPherson

Kinetic, daring, and pulsing with soulful energy, director Danny Boyle’s magnificent “28 Years Later” is a post-apocalyptic coming-of-age story staggering in its narrative and stylistic craftsmanship.

The action takes place 28 years after the second outbreak of the Rage Virus — a disease that spreads in mere seconds through bodily fluids and turns people into rabid, blood-spewing monsters. We follow Spike (Alfie Williams), a 12-year-old boy living in an uninfected colony on Holy Island off the northeast coast of England.

The Virus has been pushed back from Continental Europe, leaving the people within the quarantined British Isles to fend for themselves. Surrounded by naval patrols, they can only reach the Virus-stricken mainland by crossing a heavily-fortified tidal causeway. The colony itself, maintained with a strict set of rules, roles, and a belief system that prioritizes “killing the Infected,” lacks doctors and modern amenities. It’s  regressive in its culture and seemingly caught in a state of limbo as the inhabitants wait out the apocalypse. 

Going on a “hunting” expedition on the mainland is seen as a rite of passage for the youth of Holy Island, and now it’s Spike’s turn. His father, Jamie (Aaron Taylor-Johnson), a skilled hunter and hard-partier, plans to accompany him on the trip and wants Spike to follow in his footsteps; Spike isn’t sure if he wants to go down the same path. Jamie is desensitized to the world’s violence, taking a matter-of-fact approach to killing the Infected and serving his role in the community.

Alex Williams and Jodie Comer.

Spike’s tender-hearted mother, Isla (Jodie Comer), is bed-ridden, suffering from a mysterious illness that causes frequent bouts of disorientation and confusion, and the village has no means of diagnosing or curing her. Jamie ultimately sees Isla as a burden, so Spike takes on the role of looking after her and tries everything in his power to help her recover. Isla, alienated from her people physically and morally, is strongly against Spike going to the mainland, but there’s no real choice. It’s the expectation, so it has to be done.

Once Spike and Jamie cross the causeway, the village prepares for Spike’s Welcome Back party. All does not go exactly to plan, though. Spike and Jamie have a few hairy run-ins with the Infected, including rotund worm-eaters and an imposing, very naked “Alpha” that has increased brains and brawn.

Spike also sees a fire in the distance — signaling the whereabouts of the “crazy” Dr. Kelson (Ralph Fiennes), who Jamie almost refuses to acknowledge and seems frightened of. But Kelson might have the cure for Isla’s illness. In fact, he might be her only hope of survival.

It’s clear from the outset that Boyle, reteaming with “28 Days Later” writer Alex Garland, isn’t out to make a standard “zombie” film here. He’s more interested in upending conventions, daring viewers to get on its deranged and oddly sentimental wavelength. Boyle’s film is unabashedly singular in the bold swings it takes with nearly every element of its construction. 

Aaron Taylor-Johnson and Alfie Williams

“28 Years Later” wraps its blood-soaked yarn in social commentary on hate versus love, tradition vs. independence, isolation, and coming to terms with reality, while doing one’s part to honor the lives and memory of those we hold dear. It also encourages the act of looking beyond the stories we’re told to make our own futures. All the while “28 Years Later” remains a gory (at times shockingly so) post-apocalyptic horror film with a healthy dash of dry, British humor sprinkled throughout.

There’s a lot to chew on here, and Boyle/Garland keep the film moving at a breathless clip. On a purely visceral level, “28 Years Later” is punishing in the best way. Boyle’s signature punk rock direction maintains a propulsive momentum, and Anthony Dod Mantle’s cinematography — largely filmed with iPhones, sometimes making use of a 20-camera rig that’s perfect for pseudo-bullet-time Infected kill-cams — heightens moment-to-moment intensity through its gritty, rough-hewn quality.

It establishes an off-kilter atmosphere that underlines just how twisted the world has become, capturing the vast claustrophobia of the mainland with a sense of hard-fought promise and restless uneasiness that can turn to chaos at any moment. 

The masterful score by Young Fathers initially seems anachronistic, yet perfectly complements the film’s messy but deeply poignant core — a particular highlight during the terrifying opening sequence, which juxtaposes the Teletubbies with a rural community being torn apart and reborn by the Infected.

Ralph Fiennes as Dr. Kelson

The film’s style is eclectic and jittery, yet intentional every step of the way, as Boyle weaves in subtle and, well, not-so-subtle symbolism to establish this world of regressive norms, disease, and callous cruelty. It all effectively connects with Spike’s rushed transition into adulthood, and the frantic yet courageous steps Spike takes to become his own person.

Indeed, there’s plenty of harrowing escapes and bloody carnage in “28 Years Later”, but like “28 Days Later” before it, and unlike the Juan Carlos Fresnadillo-directed “28 Weeks Later,” Boyle and Garland remain focused on character above all else. Moments of levity and warmth are unearthed amid the desolation.

The film, at times, resembles a tug-of-war between these disparate tones, as Isla (vividly portrayed by Comer) reveals humane, even sensitive sides of Spike and the world they inhabit. 

By the time Kelson shows up — one of Fiennes’ greatest performances — Boyle and Garland prime us to embrace the unexpected, finding slivers of humanity amid his temples of skulls. Boyle and Garland encourage us to get on the film’s level; whether we can go along with the last act’s emotional trajectory is as much a test for us as it is for Spike. Luckily, with the exceptional performances across the board — especially newcomer Williams — it’s easy to become swept up in the film’s rush of emotion.

Spike and Dr. Kelson

At the end of the day this is a story of a boy and his family — Spike’s disillusionment with the traditions passed down to him, and his gradual realizations of the need to confront his fears, including the inevitable pull of Fate and the importance of love amid an environment pervaded by hatred of the Other.

Not all of the film’s big swings will land for everyone, notably its unhinged final moments that set up future sequels. But “28 Years Later” is still an unforgettable viewing experience. Boyle and Garland prove, once again, that they can find thrilling new avenues into genres we think we know inside out — crafting one of the strongest, most exhilaratingly unusual films of 2025 thus far.

“28 Years Later” is a 2025 horror movie directed by Danny Boyle and starring Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, Ralph Fiennes and Jack O’Connell. The run time is 1 hour, 55 minutes and Rated R for strong bloody violence, grisly images, graphic nudity, language and brief sexuality. The movie opened in theatres June 13. Alex’s Grade: A+

Gosling and Blunt Elevate Amusing Spectacle in ‘The Fall Guy’

Gosling and Blunt Elevate Amusing Spectacle in ‘The Fall Guy’

By Alex McPherson

Fun, charming, and heartfelt, albeit insubstantial, director David Leitch’s “The Fall Guy” is purely entertaining – letting us watch two hot leads sizzle up the screen in an action rom-com that’s an ode to stunt teams and behind-the-scenes workers.

Leitch’s film, very loosely based on the 1980s TV series of the same name, centers around Colt Seavers (Gosling), an outwardly confident yet insecure stunt double for the superstar Tom Ryder (Aaron Taylor-Johnson, suitably obnoxious), who lies about doing his own stunts. Colt is in a fling with camera operator Jody Moreno (Emily Blunt), and everything seems great:

Colt can do what he loves, impress Jody, and feel cool. At least, until it all falls apart. Colt breaks his back while redoing an aerial stunt — Tom claims that Colt’s face was visible on Take One — which makes him question his life choices. Colt (perhaps because of his bruised ego), pushes Jody away, and wants to abandon the profession altogether. Jody is heartbroken, and Colt begins working as a valet at a Mexican restaurant.

Eighteen months later  Colt, stuck in a rut and regretting his decisions, is contacted by the high-strung, Diet-Coke-addicted Gail Meyer (Hannah Waddingham), Tom’s film producer. Gail informs Colt that Jody is directing her first film — a mishmash of “Dune” and “Mad Max” called “Metalstorm” — and Jody wants Colt to come aboard. Colt is thrilled, seeing this as a chance to get back together with Jody. He heads to Sydney, Australia, to begin filming. 

Upon arrival, however, Colt discovers that Jody never actually asked for him. On the contrary, she’s highly resentful, at one point taking out her anger by making Colt repeat a painful stunt until her bloodlust is satisfied. But there’s still a flirtation between them, a flicker of the love that used to be, that shines through in their alternately combative and affectionate banter.

Before long, Gail reveals to Colt that Tom has gone missing and tasks Colt with finding him before time runs out and production shuts down on “Metalstorm.” This could be Colt’s chance to save Jody’s movie, redeem himself in her eyes, and rekindle their bond. Thus, the stage is set for an adventure that succeeds most if viewers sit back, let the increasingly convoluted plot wash over them, and go along for the crowd-pleasing ride.

Indeed, “The Fall Guy” is a breezily diverting experience, with pop culture references galore and an obvious appreciation for filmmaking and the people who work tirelessly behind the scenes to make it all a reality. It’s also an opportunity to bask in the star power of Gosling and Blunt, whose dynamic gives the film a sexy burst of energy that buoys a plot that becomes a little too unwieldy for its own good by the chaotic final act.

Aaron Tyler-Johnson as mega-star Tom Ryder.

Leitch’s film tries to simultaneously be a cheesy romantic comedy, a self-effacing send up of blockbusters, and a tribute to the tireless efforts of stunt crews, but it ultimately short-changes all of these threads, becoming far less than the sum of its parts. But damn, is it a likable ride nonetheless.

Over the years, Gosling has proven himself as a versatile actor, and “The Fall Guy” gives him yet another opportunity to shine. His performance as Colt won’t win any awards – Leitch doesn’t bother much with backstory or give Colt’s “serious” moments time to breathe without balancing them with self-aware humor or broad slapstick comedy. However, Gosling’s brand of goofy charisma works well here, as Colt becomes the lead star of his own action film.

Gosling’s always a joy to watch, whether engaging in Leitch’s creatively-staged action sequences (a psychedelic nightclub beat-down and a battle within a garbage-truck-turned-wrecking ball are the standouts), preparing for a particularly grueling stunt on a film set, or crying his heart out to Taylor Swift’s “All Too Well” while reminiscing about his former fling with Blunt’s Jody. Much of the character’s appeal rests on Gosling’s shoulders, though, with him delivering sporadically eye-rolling dialogue with infectious sincerity.

Blunt is given less to work with here – and is largely sidelined for most of the film’s cluttered second act – but she has great chemistry with Gosling. Jody’s a passionate, career-focused woman, but can only hide her continued yearning for Colt for so long. Colt and Jody’s back-and-forth dialogue and will-they-won’t-they dynamic (elevated by Leitch’s perhaps overly self-assured direction) never loses its appeal, regardless of the story’s predictability.

Less successful is the satirical industry exposé element of the plot, which becomes too cartoonish, and almost becomes a parody of itself. It’s disappointing, in a way, since Leitch makes a lot of effort to immerse us in the thick of the “Metalstorm” film set early on, emphasizing all the coordination necessary to craft the perfect scene.

There’s an obvious reverence for the process that’s satisfying and immersive, but “The Fall Guy” ultimately doesn’t do much with this set-up. The peek-behind-the-curtain approach becomes window dressing for a film that leans into extremes, distracting us from otherwise relevant commentary on greed, fame, and AI.

  And that’s perfectly fine. As a summer blockbuster, “The Fall Guy” delivers, chock full of suitably crunchy fight sequences (Leitch’s background in stunts and action films is on full display), thrilling chases, quip-filled, reference-heavy dialogue, and a central romance that’s earnest and sentimental, carefully tuned for date-night-viewing.

But there are no stakes, which sits strangely, since the nature of stunt work involves performers putting themselves at risk for our entertainment.

There’s a lack of emotional engagement outside of watching beautiful people in a goofy lark that’s watchable without being especially memorable. Supporting turns from Winston Duke, Stephanie Tsu, and a dog that only responds to commands in French are amusing, but underdeveloped.

Footage of Leitch’s actual stunt crew on the film plays over the credits, too, and one can’t help but wish “The Fall Guy” paid more attention to the sacrifice and bravery that goes into the craft — rather than devolving into 80s-inspired ludicrousness.

The film remains consistently funny, however, and never boring. It deserves to be watched on the big screen with a lively crowd as a safe, reliable, mainstream experience accompanied by a large bucket of popcorn.

“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Alex’s Grade: B

Clever, Snappy ‘The Fall Guy’ Celebrates Unsung Stunt Workers

Clever, Snappy ‘The Fall Guy’ Celebrates Unsung Stunt Workers

By Lynn Venhaus
Its basket overflowing with clever Easter Eggs, “The Fall Guy” is an enormously entertaining action-packed valentine to moviemaking that gives stunt men a long overdue standing ovation.

Loosely adapted from the popular 1980s television series that starred Lee Majors as a Hollywood stuntman who doubled as a bounty hunter, “The Fall Guy” is a fast and furious action thriller mixed with a charming romantic comedy that works on both levels.

Man of the Hour Ryan Gosling continues his hot streak, crushing it as the likable goofball Colt Seavers who is the stunt double for an obnoxious marquee movie star. 

He fell hard for a woman camera operator now making her first big-budget film, Jody Moreno (Emily Blunt, warm and wonderful), but a set accident changed his perspective on what he made a career doing.

Now back in action, his battle-scarred hero journey and their relationship are complicated, so no spoilers from me, because it’s just too much fun discovering well-placed zingers, sight gags that pop, and a dizzying number of slick twists.

They’re making a ‘serious’ space cowboys-aliens movie called “Metal Storm,” and the script is filled with many references to popular movies, homages to epic stunts of the past, and tips of the hat to the dedicated people who make up the proficient crew.

Because of the extra effort and care here, the movie is a fun excursion while getting wrapped up in the action and the romance. – sincere and heartfelt.

I hope that unicorns, post-it notes and a dog named Jean-Claude make you laugh as much as I did.

With their effortless charm and palpable chemistry, recent Oscar nominees Gosling and Blunt drive this across the finish line as one of the most enjoyable big-screen experiences of the year.

You can tell they were having so much fun filming this movie within a movie because it easily transfers into a crowd-pleaser.

The supporting cast is also first-rate, with Aaron Taylor-Johnson amusing as the insufferable narcissistic actor Tom Ryder, whose careless ways and excessive partying are about to blow up his image, and not in a good way.

Taylor-Johnson, who’s been memorable in “Kick-Ass,” “Nocturnal Animals,” and as Tangerine in “Bullet Train,” is not afraid to play unlikable, and he’s a total cad here, if a bit cartoonish.

His producer Gail Meyer, played by the savvy Hannah Waddingham, who won an Emmy as team owner Rebecca on “Ted Lasso,” goes into damage control. She is broadly drawn as an on-the-nose caricature of a domineering Hollywood insider.

The always likable Winston Duke is the stunt coordinator Dan, and he is Colt’s longtime pal, sharing a warm connection. Stephanie Hsu, fresh off her Oscar-nominated role in “Everything Everywhere All at Once,” is Alma, one of the movie’s efficient creative team, and so is Zara Michales as tech whiz Venti, and they’re lively additions to the plot. Theresa Palmer shows off striking moves as Ryder’s girlfriend and as an actress in the film.

The writer and director are inspired and experienced at delivering this crowd-pleasing adrenalin rush of a contemporary blockbuster while also incorporating sentimental throwbacks to beloved movies and television. It’s also very funny.

Director David Leitch, who was a stunt man for Brad Pitt and Matt Damon (those Bourne movies), and directed the vastly underrated “Atomic Blonde,” worked with screenwriter Drew Pearce on his “Hobbs & Shaw” movie that was part of the “Fast and Furious” franchise. Leitch’s transition to director first happened with his stunt pal Chad Stahelski on the original “John Wick” movie. And the rest, as they say, is history.

Pearce also wrote “Iron Man 3” and the story for “Mission: Impossible – Rogue Nation,” and has the smarts to pull off a snappy story with nifty hairpin turns and the character-driven humor.

First and foremost, though, the movie celebrates those unsung heroes who keep on ticking after being thrown off buildings, set on fire, inside car rolls, and performing incredible stunts. This should help push the needle towards establishing an Oscar for stunt work, which is long overdue. (Side note: The St. Louis Film Critics Association added a stunt category to its annual awards last year).

You may think you see stunts that resemble scenes from James Bond, “Dune,” “Mission: Impossible” and other tentpole movies, and you would be correct. The writer and director skillfully add plenty of winks and smiles.

Aaron Taylor-Johnson as Tom Ryder

In a movie with dazzling set pieces, it’s nice to see a credit for stunt designer, and that’s Chris O’Hara, supposedly the first credit of its kind on screen. Another meta touch in the movie-within-a-movie is an emphasis on the others who work hard in service of the marquee names.

The movie also benefits from a terrific soundtrack that incorporates classic rock, TV theme songs, and Taylor Swift’s “All Too Well.”

With Gosling and Blunt propelling this brisk-paced movie with their star power, captivating story and thrilling stunt work, “The Fall Guy” kicks off the summer movie season with panache. It incorporates everything I like about going to the movies. You must stay for the credits because there are more delightful visual treats to see.

“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Lynn’s Grade: A
It is now streaming on Amazon Prime Video as of Jan. 2, 2025.

The original TV series “The Fall Guy,” which ran for five seasons, from 1981-1986.