Duran Duran, Teletubbies and a buddy comedy. FREDDIE COLES reviews the fourth movie instalment of the franchise set in post-apocalyptic Britain

The latest film in the 28 Days Later franchise has hit theatres this month, less than a year after the last outing in post-apocalyptic Britain. The fourth instalment in the saga and a direct sequel to Danny Boyle’s 28 Years Later, the film continues the story of Spike, a 12-year-old boy growing up in a country ravaged by a viral outbreak. But is this another roaring triumph or a tired husk of a dead franchise?

Here's Jimmy!

The first of these characters, Sir Lord Jimmy Crystal, is a cult leader who indoctrinates Spike into his band of tracksuit-wearing followers. Together, they roam the northern countryside, offering what Jimmy sees as ‘charities’ to other survivors of the Rage Virus. Jack O’Connell, known for his roles in Sinners and SAS Rogue Heroes, brings equal parts charm and malice to the role, evoking a bizarre blend of real-life cult leaders and Peter Pan.

Jimmy himself is a Lost Boy, stuck in a type of arrested development after his childhood was cut short by the outbreak, so he uses nostalgia and his religion as coping mechanisms to justify the twisted acts he carries out in the name of The Devil. O’Connell gives the character a unique, twisted sense of humour, frequently referencing the Teletubbies, as they were the last thing he saw before his childhood ended. 

This is truly a rare kind of villain, where you can never be sure whether he believes in his cause or not. O’Connell’s exploration of mental health and the suppression of trauma are brought to the forefront of his performance, resulting in an undoubtedly sadistic villain that occasionally draws on the audience’s pathos in a similar way to how he keeps his followers in line. Despite the absurdity of his appearance and mannerisms, Jimmy is frighteningly real.

The Good Doctor

Ralph Fiennes co-stars as the eccentric but well-meaning Doctor Ian Kelson, reprising his minor role from the last film. Living in the titular Bone Temple, a Stonehenge-Esque monument built from human remains, the doctor forms a unique bond with a large Infected that he has named Samson (played by Chi Lewis-Parry).

Fiennes unsurprisingly excels in every scene, portraying Kelson as a humanist through his interactions with both Samson and, later, Jimmy. Despite his unusual appearance and obsession with the concept of death, he embodies the persistence of kindness in a world gone mad. A doctor before the outbreak, Kelson sees the infected as sick patients where everyone else sees monsters, refusing to kill them. His interactions with Samson are the highlight of the film for me, as the sense of dread in the Jimmy storyline is juxtaposed by Kelson’s hopeful outlook on the world, resulting in borderline comedic scenes of Fiennes dancing to Duran Duran with a drugged Samson.

Chi Lewis-Parry’s portrayal of Samson offers a fascinating new perspective to the franchise: that of an Infected. Samson’s symbiotic bond with Kelson is the emotional core of the film, venturing into buddy-comedy territory at times with how the dynamic is presented. It’s a task as tall as the Infected giant himself, having to portray so many emotions without dialogue, and Parry succeeds in every roar and wide-eyed stare.

Dancing With The Devil

The third act brings the two stories together when Jimmy visits the Bone Temple, believing Kelson to be Satan. Without spoiling too much of the ending, the confrontation between the two is a spectacular sequence. Utilising real pyrotechnics and an Iron Maiden needle-drop, the doctor puts on the concert of a lifetime for Jimmy and his followers as he tries to convince them that he is The Devil.

Nia DaCosta takes the helm from Danny Boyle as director, giving The Bone Temple a unique sense of self without compromising Boyle’s flair that made his film so fascinating from a filmmaking perspective. DaCosta prioritises practical effects and delves into the psychedelic imagery headfirst, leading to some stunning shots of clouds and stars racing across the night sky.

 Filmed on location in Northumberland, the wilderness becomes a character in itself. The chase scenes in the woods feel suitably claustrophobic as branches and shrubs crowd the camera, while the contrasting vibrancy of the golden fields surrounding the Bone Temple reflect the optimism of Kelson. Nature’s presence extends to the soundscape, the sway of grass and trickle of streams providing the ambience for large parts of the film, working in tandem with Hildur Guðnadóttir’s minimalist, primal score. A familiar tune even re-appears at the film’s end which gave me full body chills.

A missing piece

While the film excels in both visually and narratively, Spike is given little to do. Alfie Williams’ performance was a highlight of 28 Years Later, carrying the emotional weight of the film impressively for a child actor. In the sequel however, he plays a relatively passive role, serving as an audience surrogate to view Jimmy’s cruelty. Whenever he is given an opportunity to progress his arc, the focus is returned to Kelson or Jimmy.

  Alex Garland’s writing excuses this for the most part, as the two new co-stars are equally entertaining, however Spike’s unique perspective was sorely missed from a majority of the film. That being said, the incredible final scene seems to imply a return to Spike’s perspective for the inevitable final chapter, joined by a certain survivor from the pandemic past.

Raging success or dead on arrival?

While less of a conventional horror flick than its predecessor, 28 Years Later: The Bone Temple’s analysis of faith and mortality raises it to my personal favourite in the franchise. Continuing the trend of fully embracing the abstract and unconventional, Nia DaCosta is a worthy successor to Danny Boyle as her creative vision is uncompromised, offering some of the best cinematography of the decade thus far. Jack O’Connell and Ralph Fiennes are thoroughly entertaining in the main roles, boosted by an incredible script and score, joining the ranks of Sinners and Weapons as a nuanced horror hit. 

Dear viewer, prepare to have your expectations subverted, this is an insane, rage-fuelled ride!

Written by FREDDIE COLES (BA Journalism student, University of Chester, UK)