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+

Bond’s Craig Era Ends in Satisfying Swan Song — and Fresh Female Focus

Bond’s Craig Era Ends in Satisfying Swan Song — and Fresh Female Focus

By Lynn Venhaus

“No Time to Die” is everything you want in a Bond movie, a super-spy thrill ride elevated by director Cary Joji Fukunaga’s flair for assembling dynamic action sequences and his attention to details.

And in a welcome surprise – assertive women show up in an impressive triumvirate of Ana de Armas, Lashana Lynch and Lea Seydoux.

For the fifth and final entry in the Daniel Craig era as the suave James Bond, our very human hero has left active service at M16 and is enjoying a tranquil life of retirement in Jamaica. However, his peace is short-lived when his old friend Felix Leiter (Jeffrey Wright) from the CIA asks for help in rescuing a kidnapped scientist. The mission turns out to be far more treacherous than expected and leads Bond onto the trail of a mysterious villain (Rami Malek) armed with dangerous new technology.

Fukunaga’s keen eye is well-documented in his unflinching 2015 film “Beasts of No Nation,” in which he was also cinematographer, and his masterful first season of the dark, hypnotic “True Detective” in 2014, for which he won an Emmy Award for directing.

He excels at moving this intriguing spy story along and the globe-trotting camerawork by Linus Sandgren, Oscar winner for “La La Land,” is dazzling. Even at 2 hours and 43 minutes, this slick yet gritty adventure keeps our attention, and satisfyingly wraps up Craig’s story arc as the British icon.

While most other Bond films can stand on their own, some 25 and counting over six decades, the five in the Daniel Craig era are connected. “No Time to Die” relies on viewers knowing that Vesper Lind was Bond’s first wife in the 2006 “Casino Royale” reboot and that tragic backstory, as well as familiarity with what happened in the last one, “Spectre” in 2015 – especially about his girlfriend Dr. Madeleine Swann, daughter of nemesis Mr. White, and sinister mastermind Blofeld (Christoph Waltz), Swann’s dad’s boss.

The script by Neal Purvis and Robert Wade, as well as Fukunaga, is noticeably impacted by the contributions of screenwriter Phoebe Waller-Bridge (heralded creator of “Fleabag”), who brings a refreshing female perspective to the well-documented male patriarchy of the Bond franchise.

This entry is far more female-forward than previous Bond installments – and there is a new 007, Nomi, and she is a feisty, ferocious machine, with Lashana Lynch in a dandy performance, the first black British agent in the film’s 58-year history. No, he may be legendary, but they did not retire Bond’s number, 007.

The iconic ID has been around since Ian Fleming’s first novel, “Casino Royale,” in 1953, and he went on to write 11 novels and two short story collections. Other authors have carried on Bond’s missions.

What direction the Bond franchise goes after Craig’s swan song is anyone’s guess – but post-credits, producers are emphatic: Bond will return in 2022. Debate rages over the possibility of Idris Elba or Rege-Jean Page, or even a female agent. Hmmm…anticipation grows.

In the meantime, Craig fans will enjoy his final emotionally charged performance. He’s been a fine Bond, one of the best, displaying an intensity about dedication to duty, a wily intelligence and a tiny chink in his reserved demeanor about feelings, which is endearing. His orphan roots and lovers’ betrayals have exposed his internal wounds.

While he might not be as memorable as some previous villains, Rami Malek is an interesting adversary as mad genius Lyutsifer Safin, warped by his father’s zeal for using chemicals as weapons.

As the other Bond villain, Blofeld, Christoph Waltz is far better here in one confrontation than he was in the entire “Spectre,” which was a disappointing film after the extraordinary “Skyfall” in 2012.

Not everyone is sold about French actress Lea Seydoux playing the love interest, a rare second appearance for a girlfriend, but it deepened the Craig finale.

This foray features a solid cast, with the always-exceptional Ralph Fiennes returning as a conflicted M, Ben Whishaw as tech whiz Q, Naomie Harris as loyal assistant Eve Moneypenny, Rory Kinnear as government wonk Tanner and this time around, Jeffrey Wright compelling as CIA pal Felix.

Besides a take-notice turn by Lynch, Ana de Armas is sensational as a rookie CIA operative helping Bond in Cuba. She is not given as much screen time as she deserved, and her captivating sequence had viewers wanting more, ushering in a new type of “Bond girl” in a changing era.

Bond may be a relic from a distant past, but the fact that filmmakers acknowledge that change is necessary, makes for a fascinating future.

The franchise, known for stylish escapism, may be forced to adapt to keep relevant in a brave new world, but viewers will always want engaging stories of right triumphing over might – no matter if it’s good girls AND guys.

And wow, are those car chases fun to watch.

Daniel Craig as James Bond in “No Time to Die”

“No Time to Die” is an action-adventure directed by Cary Joji Fukunaga and stars Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ben Whishaw, Naomi Harris, Christoph Waltz, Ralph Fiennes, Jeffrey Wright, BIlly Magnussen and Ana de Armas. It is Rated: PG-13 for sequences of violence and action, some disturbing images, brief strong language, and some suggestive material. Its run time is 2 hours, 43 minutes. It is in theaters on Oct. 8. Lynn’s Grade: A


Sightlines: My All-Time Favorite, Robert Redford, at 85

Sightlines: My All-Time Favorite, Robert Redford, at 85

By Lynn Venhaus
Actor-filmmaker-founder of Sundance Film Institute Robert Redford turned 85 today! (Aug. 18).

He has been a major part of my film-going life, first as an actor, then making smart movies, and then deciding storytelling would be his life’s work through honoring independent films in Utah.

“Storytellers broaden our minds: engage, provoke, inspire, and ultimately, connect us,” he once said.

He has changed the film industry and changed lives.

Early on, he broke the mold in Hollywood and carved out a career on his own terms, living far from the celebrity life in Utah, raising a family and becoming an environmental activist.

He turned the perception of a ‘golden boy’ into an exploration of culture and society’s roles/expectations. (His movie, “Quiz Show” is rarely mentioned, but go back, and what he says about the American Dream — great work by Ralph Fiennes and John Turturro).

My sister Julie and I rushed to every one of his film openings in the 1970s after “Butch Cassidy and the Sundance Kid” (when I was in high school), then hit after hit — “The Sting,” “The Way We Were,” “Three Days of the Condor,” “The Candidate” and “Jeremiah Johnson,” among them.

He was born to play the tortured hero Jay in “The Great Gatsby,” starring opposite Mia Farrow in the 1974 adaptation that did not measure up to expectations.

My boys used to give me DVDs of his work for Mother’s Days (and paired “The Natural” one time with “Serial Mom” — yep, that’s my John Waters’ loving son Tim’s idea of humor).

Hubbell Gardiner in “The Way We Were”

He gave us the definitive investigative journalism movie “All the President’s Men,” one of my all-time favorites and inspirations, explaining how the press changed the course of history in our country’s politics.

For his only competitive Oscar, he turned the bestselling book “Ordinary People” into an honest and painful study on families and grief in 1980.

I watched it again a couple months ago, and wow, does it resonate. Mary Tyler Moore, Donald Sutherland and Timothy Hutton turn in some of their finest work. I will argue its value to anyone who wants to fight me on this.

His intelligence behind the baby blues, his sharp observations on human behavior — obvious early on in a remarkable filmography.

He only works sparingly in front of the camera these days, but I think he still has it – particularly in “The Old Man and the Gun” with Sissy Spacek,” “A Walk in the Woods” with Nick Nolte, and his solo tour de force “All is Lost.”

Robert Redford and Paul Newman

He has never been afraid to be a flawed anti-hero (“Downhill Racer”) or an all-out bad guy (spoiler alert: “Captain America: The Winter Soldier.”)

The on-screen pairings have been high points — so memorable as Denys with Meryl Streep in “Out of Africa.”

A good move was working with Brad Pitt in “Spy Game,” and he coaxed a career-best performance (at the time) from Pitt in “A River Runs Through It,” which he directed and narrated.

Of course, the pinnacle was his work with Paul Newman, and thus, the buddy movie was born.

And three films with Jane Fonda, They both started out on stage in the late 1950s and worked early together on film when he reprised his role as Paul in “Barefoot in the Park.” Then, reunited in “The Electric Horseman” in 1979 and “Our Souls at Night” in 2017.

In the Natalie Wood documentary, “What Remains Behind,” he is one of the commentators and remained a close friend, after they made two films together (“Inside Daisy Clover” and “This Property is Condemned” in the ’60s), before he exploded as a superstar. She, in turn, showed up in a cameo in “The Candidate.”

Roy Hobbs in “The Natural”

For a while in the 1990s, he experienced a screen ‘renaissance’ — “The Horse Whisperer,” “Indecent Proposal,” “Up Close and Personal” and “Sneakers.”

He will always be Hubbell Gardiner and Roy Hobbs to me, masterful screen portraits of complicated guys.

Cases in point:
Hubbell’s college writing: “In a way he was like the country he lived in — everything came to easily to him. But at least he knew it.

“Roy in hospital: “God, I love baseball.”
“There goes Roy Hobbs, the best there ever was in this game.”

Meryl’s Karen in “Out of Africa”: “When the gods want to punish you, they answer your prayers.”

And this:(Robert Redford) “You’ve ruined it for me, you know.”(Meryl Streep) “Ruined what?”(Robert Redford) “Being alone.”

You see all these being said, don’t you?

And of course, the “Be a Beacon” speech in “Sneakers.”
https://youtu.be/2q2iQC-4wbA

What great timing!

Thank you, Mr. Redford, for the memories and your lasting impact.

(On a Related Note: In January 2011, my two sons and I made the cut to be volunteer ushers at the Sundance Film Festival. It was a highlight of my life, and sharing it with my movie-loving boys was very special. Tim described it as the greatest two weeks of his life, and he saw something like 23-24 movies in 11 days).

Charlie, Lynn and Tim Venhaus, Sundance 2011

Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

By Lynn Venhaus
Who knew watching people digging in the dirt would be so fascinating? That’s one of the surprising things about “The Dig,” which is based in fact and never dull.

Another revelation is how compelling the characters are – and that’s a credit to the fine performances, but also the script by Moira Buffini, who adapted John Preston’s 2007 book.

Seen through the eyes of the property owner and the modest working-class excavator, this thoroughly engaging film gives us an authentic account of how a 6th century ship is discovered underground and the battles it provokes.

In1938, Edith Pretty (Carey Mulligan) hired local excavator Basil Brown (Ralph Fiennes) to dig into those mysterious mounds of earth on her Sutton Hoo property, near Suffolk. What he discovers is remarkable in its historical significance – an Anglo-Saxon ship, with a burial chamber, from the 6th century. It would become the largest archeological find in England. Museum officials start fighting over it, as do university archeologists. At this same time, the country is on the verge of going to war with Germany after Hitler invades Poland.

Mulligan is terrific as Pretty, the fiercely loyal wealthy widow who won’t allow Brown’s contributions to be minimized, even though the snobby museum professionals demean his lack of training.

Brown is a bit unorthodox. An expert digger, Fiennes convincingly conveys this humble man — his eccentricities, prowess and gratitude over Mrs. Pretty’s kindness.

This much-lauded duo delivers nuanced portraits of the real people who gave the story its heart, and their friendship is one of the story’s best elements. Child actor Archie Barnes is an important component as young Robert Pretty, Edith’s son who forms a strong bond with Brown.

The supporting cast is also strong. Lily James is a bright spot as a capable academic, Peggy Piggott, whose unhappiness with her inattentive husband (Ben Chaplin) grows.

Johnny Flynn, so good in “Emma” and “Beast,” shows his versatility as Rory Lomax, Edith’s relative who preserves the scene with his camera but joins the RAF during the big activity on the grounds. Monica Dolan plays sweet May Brown, Basil’s supportive wife.

Australian director Simon Stone respects both the history and the human nature in telling the story, and lets the atmosphere speak for itself.

The creative work is important in keeping us riveted. Maria Djurkovic’s earthy production design is one of awe and wonder, with cinematographer Michael Eley capturing the stunning landscapes. Costume designer Alice Babidge’s period work is impressive, and Stefan Gregory’s music score punctuates the action well.

In not-so-subtle ways, “The Dig” emphasizes life, death and time in a smart, richly textured and endearing work. Dig in!

THE DIG (L-R): CAREY MULLIGAN as EDITH PRETTY, RALPH FIENNES as BASIL BROWN. Cr. LARRY HORRICKS/NETFLIX © 2021 

“The Dig” is an historical drama directed by Simon Stone and starring Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn, Ben Chaplin and Monica Dolan. Rated: PG-13 for brief sensuality and partial nudity, the film runs 1 hour, 52 minutes. Lynn’s Grade: A. In select theaters and on Netflix Jan. 29.