Like a rabid zombie with a wanton desire to gorge mindlessly on its prey, filmmaker Danny Boyle has got a bloody sweet tooth for nostalgia lately. From publicly despoiling a copper-bottomed cult classic for cringey call-back kicks (Trainspotting 2), to appeasing the “gold” radio crowd (Yesterday) and reframing the punk era as a dressing-up box farrago (TV series Pistol), he’s drawn heedlessly to the amber glow of youth and happier, more fruitful times of days yonder.
You might deduce a hint of autobiography, then, in his new film 28 Years Later, which introduces a closed society of Northumbrian island dwellers who have experienced no technological or social evolution since the initial outbreak of the Rage virus that was documented in 2002’s frisky genre hit, 28 Days Later. A benign form of socialism has taken over, and this close-knit group of survivors have been able to subsist and persist via collective endeavour and unselfconscious empathy, sharing food and supplies and embracing a level of full-tilt social equality that would have a Tory grandee scoffing into his kedgeree.
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The British mainland, meanwhile, has been left to fester, now a global no-go territory and under strict quarantine from Europe (sound familiar?). While many of the infected have also succumbed to the ravages of time, some have also evolved into a supercharged breed that, with their non-verbal yowling and distaste for clothing, resemble a new iteration of pre-historic man. And leading the packs are the dangerous new “alpha” variants, immune to the slings and arrows of the islanders and apparently the product of steroids present in the original strain.
Where the original film leached on the bleeding edge aesthetics of the Dogme 95 movement, with its use of consumer grade digital cameras to immerse us in all the blood-vomiting detail of the urban apocalypse, this new one opts for a mix of classical high definition vistas as best to emphasise the bucolic splendor of northern England. Yet there’s still great glee taken in having us monitor the explosive exit wounds caused by arrows hitting their targets directly in the face.
The story follows 12-year-old Spike (Alfie Williams) whose loving, burley pops Jamie (Aaron Taylor-Johnson) is making him an extra large fry-up this morning, as he’s heading to the mainland for his first foraging mission. Upstairs, his ailing mum Isla (Jodie Comer) writhes around in bed, suffering from an illness that no-one can diagnose or assist with, as there is no-one with medical training on the island.
Without going into too much detail, the film is as fervent in its love for the NHS and socialised medical provision as was Boyle’s 2012 Olympic opening ceremony, praising the presence of doctors even when they don’t have the tools to help those who are suffering. And it also offers a stinging critique of all those who actively yearn for the halt of progress, and what we see here is the horrible upshot of what a country would look like if indeed the clocks were to grind to a halt.
The first half of the film sees Spike and Jamie tooled up and ready to do battle with the infected, while the second focuses on the son’s attempts to find some relief for his mother. There are a number of references and influences at play, including fantasy franchise building like The Hunger Games movies, and some of the more outré modern folk horror offerings, such as those by Ben Wheatley. Screenwriter Alex Garland is someone who has been vocal in his love and respect for modern video games, and the dynamic here, with the insistently paternal father clashing with the rebellious son, feels like an homage to the 2018 title God of War.
There are little suggestions of allegory and satire in the mix, but Garland has this time managed to find a nice sweet spot where meaning and message don’t choke the story as a whole. Boyle, meanwhile, shows us some of the old magic in the various action set pieces, especially the ones where the alpha and its mighty, swinging member become involved. Tonally, the film is all over the shop, but never to the point where things don’t feel fluid or coherent. Anachronism is used for humour, particularly in a climactic scene which, for this viewer, might be considered one of the most jaw-dropping and bold in recent memory. A mic-drop moment par excellence.
It’s a film which manages to have its daft thrills and convincingly pivot to wistful philosophical introspection, and while there are certainly some rough edges and unexplored plot avenues, it probably counts as one of Boyle’s strongest works this century. This one needs to do numbers to ensure that the entire trilogy comes to fruition (Nia DaCosta’s second instalment is in the can and arriving early 2026), and we can honestly say something now that we haven’t been able to say for a long time: Danny deserves your dosh.
Judge Dredd is a British science fiction comic book character, created by writer John Wagner and artist Carlos Ezquerra, first appearing in the second issue of 2000 AD in 1977. Dredd became a comic legend as the judge, jury, and executioner in the dystopian, post-apocalyptic metropolis of Mega-City One, in his relentless pursuit of maintaining the law, whatever the cost.
Following Hollywood’s rediscovered love of comic book IP that dated back to Richard Donner’s Superman: The Movie (1978) and rejuvenated with the blockbusting Batman (1989) and Batman Returns (1992), studios were digging deeper for more source material which would hopefully lead to a big-bucks-franchise; including Darkman, Dick Tracy, Teenage Mutant Ninja Turtles (all 1990), The Rocketeer (1991) and The Crow (1994). The big screen debut of Judge Joseph Dredd seemed inevitable.
Cinema Scholars takes you on a deep dive into the 30-year-old film that mixed action, sci-fi, and dark humor, which was criticized for its uneven tone and deviation from the source material. And despite impressive visuals and a notable cast, Judge Dredd received mixed-to-negative reviews but has gained a cult following over time.
Sylvester Stallone stars in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
Synopsis
Judge Dredd is set in the dystopian future (is there any other type of future, Hollywood?) of the 22nd century. Much of Earth has become a wasteland known as the Cursed Earth. Humanity is concentrated in massive cities called ‘Mega-Cities’. Mega-City One, stretching across the eastern U.S., is plagued by chaos, overpopulation, and crime. To maintain order, an elite law enforcement group known as the Judges serves as judge, jury, and executioner.
One of the most feared and respected Judges is Judge Dredd (Sly), known for his unwavering dedication to the law and brutal efficiency. However, his life is turned upside down when he is falsely accused of murder — a crime seemingly proven by DNA evidence.
Dredd is framed by Rico (Armand Assante), a former Judge who has escaped prison. Rico is Dredd’s genetically identical “brother”, created from the same DNA in a secret project to engineer the perfect Judge. While Dredd rigidly upheld the law, Rico embraced chaos and violence.
Stripped of his badge and sentenced to prison, Dredd escapes with the help of a talkative hacker named Fergie (Rob Schneider). He sets out to clear his name and stop Rico, who is plotting to overthrow the government and create an army of cloned Judges to rule Mega-City One.
In the end, Dredd defeats Rico and uncovers the conspiracy involving the Janus Project, which aimed to create a genetically superior breed of Judges. He restores order to the city and declines a promotion to Chief Justice, choosing instead to return to the streets as a working Judge.
Pre-Production
Armed with a budget of $80 million ($200 million today after inflation), producer Beau Marks and Cinergi Pictures (with backing coming from Disney subsidiary Hollywood Pictures, and distribution by Buena Vista) chose to shoot entirely in the UK, drawn to the country’s “phenomenal” crew talent. Offers were made to Richard Donner and Renny Harlin to direct, but they were declined. Subsequently, Danny Cannon was selected as director. He quickly assembled an ambitious team of young creatives to give the film fresh energy. Effects supervisor Joss Williams added:
“Beau and Danny wanted professionalism. Yet they also wanted a young crew, young blood, fresh ideas and a lot of confidence”
Cannon insisted that as much was done in-camera and/or using practical methods, including the 11-foot-tall, limb-tearing ABC Warrior robot being built as a real animatronic—a decision that paid off. The miniatures for Mega-City One were particularly impressive—some reaching 14 ft tall, giving a palpable sense of scale.
Sylvester Stallone
Cannon nearly cast Arnold Schwarzenegger before settling on Stallone. Stallone, unfamiliar with the source material, demanded that his character remove the iconic helmet early on.
“Nobody was going to pay to see Sly Stallone hide behind a visor for 90 minutes.”
-Ed Power, The Telegraph
Rob Schneider and Sylvester Stallone star in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
Accordingly, Judge Dredd opens with a helmet-off scene 20 minutes in. An early franchise divergence that outraged purists. Fans made the case that the mask equaled anonymity, while the eyes were the window to the soul; however, as they were blacked out, Dredd was able to remain a remorseless law enforcer. Not so in Hollywood.
When it came to full costume, Stallone also had some other ideas. After some early tests, the actor called on the services of his friend, one Gianni Versace, to design a new version of the uniform. In the era of over-the-top 90s costume flair, some bizarre early sketches included an armored codpiece, thankfully scrapped, to the relief of costume designer Emma Porteous.
Co-stars like Diane Lane (Unfaithful), as Judge Hershey, were also caught in the theatrical controversies. When the script called for full nudity, Lane balked:
“I had this phobia that they were going to get my [bum] onscreen at the same time as Sylvester Stallone’s…I’m like Judge Bone and he’s got these cinderblocks for glutes. I cannot be on camera the same time as him”
Filming and Release
Filming took place at Shepperton Studios and UK locales like Bankside Power Station and Kew Gardens. But red tape and bureaucracy weren’t making it any easier. Nonetheless, the seasoned British crew kept the shoot on budget, on schedule, and looking great. Upon release, Judge Dredd was not all doom and gloom. As noted by Empire in their review:
“…it’s the production design and special effects that engage…”
When all was said and done, the film’s production value and the attention to detail in bringing Mega City One to life earned praise across the board. However, critical reception was mixed. Many felt the tone was uneven. Caught between the dark dystopia and action-packed comedy. Cannon’s violent vision, in keeping with the tone of the source, had to be toned down significantly.
Sylvester Stallone and Armand Assante star in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
A cut of the film was submitted for rating five times, receiving NC-17 each time. Stallone stepped in (again) and recut the film himself, with studio input. Sly felt partly responsible for the original high rating as he “brought too much baggage” with years of over-the-top violence from the Rambo series. Therefore, his cut upped the buddy comedy.
It can be argued that Stallone was influenced by his positive working experience making Demolition Man (1993). So, as a result, the actor was aiming for some of the same lightheartedness (and more Schneider).
Ultimately, Cannon stated he’d never work with another big-name star again. Subsequently, he’s had a successful television career. Stallone, on the other hand, called the film his biggest mistake. The original creator, Carlos Ezquerra, also voiced his disappointment with how the film had no real links with his creation and told the wrong story.
Box Office and Legacy
At the box office, it was another comic book hero who dominated with Batman Forever, along with the real-life heroes of Apollo 13 dominating the domestic and global markets. Judge Dredd ended its worldwide run, grossing $113 million. Ironically, this would be more than the 2012 version, titled Dredd, and starring Karl Urban. That film only grossed $42 million globally.
In hindsight, Sly wanted to make a Stallone Movie, while the director wanted to make a Judge Dredd Film. Unfortunately, Mega City One was not big enough for both of them. The film remains an audacious gamble on practical effects, ambitious creature design, and bold costume styling. It blended youthful ingenuity and rock-solid craftsmanship, but sometimes veered off course into Hollywood compromises at odds with its source.
Despite its flaws, the sheer scale, miniature cities, animatronics, and the wildly ambitious stunts still resonate with FX enthusiasts and fans today. Whether you regard it as a misfire or a visual marvel, the 1995 take on Mega-City One left an undeniable mark. Its production may have been tumultuous, but it remains a testament to creativity, craftsmanship, and that mythic ‘90s blockbuster scale. Is it flawed, fascinating, and utterly unforgettable? You be the judge.
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In the pantheon of American cinema, few films have left as indelible a mark as One Flew Over the Cuckoo’s Nest. Released in 1975, the film not only swept the major categories at the Academy Awards but also deeply embedded itself in the cultural consciousness. Fifty years later, its themes of institutional control, rebellion, individuality, and the thin line between sanity and madness remain as potent and relevant as ever.
As we commemorate this monumental anniversary in 2025, Cinema Scholars takes a deep dive into the fascinating journey of how this iconic film came to life, from its literary origins to its legacy as one of the greatest films ever made.
Jack Nicholson as Randle Patrick ‘R.P.’ McMurphy in a scene from “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.
Beginnings
The story of One Flew Over the Cuckoo’sNest begins with Ken Kesey’s groundbreaking 1962 novel. The book drew inspiration from his time working the night shift at a psychiatric facility and his participation in government-sponsored LSD experiments. Kesey crafted a powerful narrative about individuality versus authority, told through the eyes of the silent observer, Chief Bromden. A critical success, the novel quickly gained a cult following for its unflinching look at the horrific and dehumanizing effects of institutionalization.
Kirk Douglas was captivated by the novel. To such an extent that in 1962, he acquired the film and stage rights. He intended to portray the lead character, the rebellious Randle R.P. McMurphy, in both productions. The play had a modest run, but Douglas was convinced the story could reach new heights on the big screen. He spent years trying—and failing—to get the film made. Studios balked at the controversial content and bleak tone. It wasn’t until 1971 that Kirk’s son, the up-and-coming actor/producer Michael Douglas, convinced his father to allow him to produce the movie. Kirk Douglas spoke to The Guardian in 2017:
“My father, Kirk, had acquired the rights to Ken Kesey’s novel in the early 1960s and developed it into a Broadway play, with him playing the lead character, RP McMurphy. He tried for years to turn it into a film, but it never got any momentum. Meanwhile, I was at university in Santa Barbara and was very politically active, what with the Vietnam war going on. I loved the book: it was a brilliantly conceived story of one man against the system. I had never thought about producing, but I told my dad, “Let me run with this”
Publicity photo of Michael Douglas on “The Streets of San Francisco” (1975). Photo courtesy of ABC Television via Public Domain.
Michael Douglas initially optioned the film to director Richard Rush, who was unable to secure financing. Eventually, in 1973, Douglas announced he would co-produce the film with Saul Zaentz under the umbrella of Fantasy Records’ new film division. Zaentz loved Keasy’s book and wanted him to rewrite the screenplay. Keasy eventually withdrew from the project due to creative differences over casting and the overall narrative.
Pre-Production
Lawrence Hauben and Bo Goldman were eventually hired to write a new screenplay. This time from the third-person point of view. This was opposed to Keasy’s version, which was told in the first person and from the mind of Chief Bromden (Will Sampson). Hal Ashby was hired to direct the project. But he was quickly replaced by Milos Forman after he fled Czechoslovakia for the United States. Things had come full circle as Forman was Kirk Douglas’s first choice to direct over ten years earlier.
Forman, who was struggling with mental health issues at the time, was holed up in New York City. Staying at the famed Chelsea Hotel, Douglas and Zaentz sent Forman a copy of Keasy’s novel. The director didn’t realize this was the project that Kirk Douglas had hired him to direct ten years earlier. Regardless, Forman loved the material, later stating in 2012:
“To me, [the story] was not just literature, but real life, the life I lived in Czechoslovakia from my birth in 1932 until 1968. The Communist Party was my Nurse Ratched, telling me what I could and could not do; what I was or was not allowed to say; where I was and was not allowed to go; even who I was and was not”
Jack Nicholson and Will Sampson on the set of “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.
Douglas also knew that authenticity would be key to grounding the film. He and Zaentz scouted locations across the country before settling on the Oregon State Hospital in Salem, Oregon—an actual mental institution that not only served as the filming location but also provided an atmosphere that was impossible to replicate on a soundstage. It was also the setting of Keasy’s novel. The hospital’s progressive and eccentric director, Dr. Dean Brooks, agreed to let the production film on-site, and even appeared in the movie as Dr. Spivey.
Jack Nicholson
Kirk Douglas had held out hope that he could reprise his role as McMurphy for the film version. However, by the early 1970s, at age 59, he was deemed too old. The search for the perfect McMurphy was exhaustive. Several major stars were considered, including Gene Hackman, James Caan, Marlon Brando, and even Burt Reynolds. But it was Jack Nicholson, fresh off his Oscar-nominated role in Chinatown, who ultimately won the part. The relationship between Kirk and Michael Douglas would be strained for many years over this.
Nicholson brought a wild-eyed unpredictability and fierce intelligence to McMurphy. The actor blended rebellion with vulnerability in a way that captured the essence of the character. His casting would prove pivotal. Not only did it mark a career-defining role for Nicholson, but it also set the tone for the ensemble cast. Nicholson did extensive research for the role, which included spending time with patients in a psychiatric ward and observing electroshock therapy.
Supporting Cast
The supporting cast was a mix of established actors and fresh faces. Danny DeVito (Martini) was the first to be cast as he also played the part on Broadway. Christopher Lloyd (Taber) and Brad Dourif (Billy Bibbit) were virtually unknown at the time, yet each delivered unforgettable performances that launched their careers. Dourif’s portrayal of the stuttering, emotionally fragile Billy earned him an Oscar nomination.
Brad Dourif stars in “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.
Chief Bromden was played by Will Sampson and was referred to by Mel Lambert (who portrayed the harbormaster in the fishing scene). Lambert, a used car dealer, met Douglas on an airplane flight when Douglas told him they needed a “big guy” to play the part of the Chief. Lambert’s father often sold cars to Native American customers and several months later Lambert phoned Douglas to say: “The biggest sonofabitch Indian came in the other day!” The rest is history.
Casting Nurse Ratched proved to be difficult. Angela Lansbury, Anne Bancroft, Geraldine Page, Ellen Burstyn, and Jane Fonda all turned down the role. The character was cold, manipulative, and emotionally repressive—not a part many actresses wanted to take on. Eventually, Lily Tomlin was cast. However, Forman became interested in the relatively unknown Louise Fletcher, and the change was made. Her quiet, composed demeanor masked a chilling authority that made Nurse Ratched one of the most memorable and terrifying antagonists in film history.
Filming
After a week of rehearsals, which included co-existing with the institutionalized patients, principal photography on One Flew Over the Cuckoo’s Nest began on January 13, 1975, in Salem and Depoe Bay, Oregon. Many of the actors fully immersed themselves in the performance, often staying in character when not filming. Brooks, in his capacity as hospital director, assigned a patient for each cast member to shadow. Some of the supporting players even slept on the wards at night. Douglas later found out that many of the patients were criminally insane. Michael Douglas spoke to The Guardian in 2017:
“The other insane decision Saul and I made was to shoot the film in an actual mental hospital in Oregon in January, when it gets dark at three in the afternoon….He (Dean Brooks) wanted to incorporate his patients into the crew. We ended up with a number of them working in different departments. I didn’t realise until later that many of them were criminally insane. We had an arsonist working in the art department”
Dr. Dean Brooks and Jack Nicholson in a scene from “One Flew Over the Cuckoo’s Nest” (1975). Photo courtesy of United Artists.
The production was not without its challenges. Forman, known for his meticulous approach, often clashed with cast members, especially since the director refused to show his actors dailies. This incensed Nicholson in particular, who at one point stopped speaking with Forman altogether. Haskell Wexler, the film’s cinematographer, was fired by Forman over creative differences and replaced by Bill Butler. Both were nominated for Academy Awards.
The shoot was grueling, running over schedule and over budget. At one point, Nicholson famously accepted the BAFTA Award for Best Actor for Chinatown while filming in the Oregon State Hospital and still in character as McMurphy. Nicholson, surrounded by his castmates, delivers an unhinged acceptance speech that had the British audience both baffled and amused. It was a testament to just how deeply he had immersed himself in the role. Zaentz, who was personally financing the film, came up with the additional $2 million needed to complete the picture.
Post-Production
Once filming wrapped, the challenge of shaping the raw footage into a coherent and emotionally powerful film fell to editor Richard Chew. The decision to use natural light, handheld cameras, and long takes gave the film a documentary-like feel. Combined with Jack Nitzsche’s haunting score, the film maintained a delicate balance between realism and stylized narrative.
One of the biggest hurdles during post-production was pacing. Forman and his team wanted the story to unfold at a deliberate tempo, allowing the audience to experience the oppressive monotony of institutional life. Editor Sheldon Kahn worked closely with Forman to trim the fat without losing the soul of the story.
While United Artists had initial reservations about the tone and length of Forman’s final cut of the film, early test screenings of One Flew Over the Cuckoo’s Nest proved to be encouraging. The audience response was overwhelmingly positive, which set the stage for a groundbreaking release in 1975.
Release and Reception
One Flew Over the Cuckoo’s Nest had its world premiere in Chicago on November 19, 1975. It was the second-highest-grossing film released that year in the United States and Canada at $109 million, and the seventh-highest-grossing film of all time at the time. As it was released in November, most of its gross was in 1976 and was also the highest-grosser for the calendar year 1976 with rentals of $56.5 million. Worldwide, the film grossed over $163,250,000 on a $4 million budget. It was the highest-grossing film released by United Artists up to that time.
Critically, the film was also a success, although some major critics of the time did have reservations. Famed critic, Roger Ebert, stated in 1975:
“Milos Forman’s One Flew Over the Cuckoo’s Nest is a film so good in so many of its parts that there’s a temptation to forgive it when it goes wrong. But it does go wrong, insisting on making larger points than its story really should carry, so that at the end, the human qualities of the characters get lost in the significance of it all. And yet there are those moments of brilliance.”
Later, upon reflection in 2003, Ebert would change his tune a bit, putting the film on his ‘Greatest Movies’ list, and stating:
“It was the first film since “It Happened One Night” (1934) to win all five of the top Academy Awards, for best picture, actor (Nicholson), actress (Louise Fletcher), director (Milos Forman), and screenplay (Lawrence Hauben and Bo Goldman). It could, for that matter, have won, too, for cinematography (Haskell Wexler) and editing (Richard Chew). I was present at its world premiere, at the 1975 Chicago Film Festival, in the 3,000-seat Uptown Theatre, and have never heard a more tumultuous reception for a film (no, not even during “E.T. The Extra-Terrestrial” at Cannes)”
Saul Zaentz, Jack Nicholson, Louise Fletcher, and Michael Douglas posing with their Oscars at the 1976 Academy Awards on March 30, 1976. Photo courtesy of the Los Angeles Times, CC BY 4.0, via Wikimedia Commons.
Legacy
Half a century later, One Flew Over the Cuckoo’s Nest remains a touchstone of American cinema. Its themes of resistance to oppressive authority, the sanctity of the individual spirit, and the cruelty of bureaucratic systems continue to resonate in today’s society. The film has been preserved in the National Film Registry and frequently appears on lists of the greatest films of all time. It’s also inspired countless parodies and homages. The Nurse Ratched character even received a Netflix origin series, Ratched, in 2020, evidence of her lasting impact.
In 2025, we honor not just a movie, but a cultural phenomenon. One Flew Over the Cuckoo’s Nest endures because it dares to challenge power, elevate the voices of the silenced, and remind us that the fight for dignity and autonomy is always worth waging. From a novel that sparked controversy to a Broadway adaptation, to a film that made history, One Flew Over the Cuckoo’s Nest remains, five decades on, a triumph of art and vision.
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The hype was real leading up to the worldwide rollout of director Danny Boyle and writer Alex Garland’s long-awaited film, 28 Years Later, on June 19, 2025. 28 Days Later (2002), directed by Boyle and written by Garland, reinvigorated the undead sub-genre of horror by reimagining the concept of the zombie in a raw, visceral, and contemporary way. Unlike the traditional slow-moving, undead corpses popularized by George A. Romero’s ‘Dead’ films, Boyle’s infected were fast, feral, and driven by rage.
Shot on digital video, the film’s gritty, documentary-style visuals added a sense of realism and urgency. 28 Days Later also influenced a new wave of horror, paving the way for movies like Dawn of the Dead (2004), [REC] (2007), and World War Z (2013), all of which adopted the fast zombie trope and leaned into viral outbreak narratives. The sequel film, 28 Weeks Later (2007), didn’t capture the lightning in a bottle of its predecessor. And it also featured a new director (Juan Carlos Fresnadillo) and new writers. Still, it was largely seen as a commercial and critical hit.
The plan to make 28 Months Later was always there. But, like so many other projects, it was stuck in development hell. Mired in years-long battles as to who controlled the IP rights, all creative parties did what they always do. They moved on. In late 2022, however, Cillian Murphy (star of the original film), Boyle, and Garland put on a United front in their desire to see the third film finally get made. With Boyle directing, Garland writing, and Murphy acting as executive producer, we were off to the races. But was it worth the wait?
Aaron Taylor-Johnson and Alfie Williams in “28 Years Later” (2025). Photo courtesy of Sony Pictures Releasing.
Synopsis
28 Years Later (repackaged from 28 Months Later) opens with a group of children in the Scottish Highlands watching an episode of the “Teletubbies.” Their enjoyment is interrupted when a horde of ‘rage’ infected flesh eaters bursts through the doors and windows of their cottage. The slaughter is brutal and quick. However, one child, Jimmy (Rocco Haynes), escapes, running to his father, a Priest, ready to embrace the salvation that is coming. Jimmy is given a crucifix and told to run before his father – the Father – is overtaken and consumed by the undead.
Forward to…28 Years Later (keeping in line with the first two films), and we are transported to a water-surrounded little hamlet in Northumberland, England, called Holy Island. There, 12-year-old Spike (Alfie Williams) resides with his mother, Isla (Jodie Comer), and father, Jamie (Aaron Taylor-Johnson). Isla suffers from ‘episodes’ that periodically send her into hallucination-like states. Spike and his father leave the safety of Holy Island to go on a foraging mission (via a long causeway) on the mainland—mistake number one.
While Jamie is content to live humbly in this new communal society, young Spike knows that Mom needs a doctor. The only way to find one is for the pair to venture back to the mainland and seek out the fires that burn in the distance. There, the apparently crazy Dr. Kerson (Ralph Fiennes) awaits, covered in iodine. Along the way, there will be rage-infected ‘runners’ trying to stop Spike from saving his mom. Boyle and Garland have also come up with bloated and crawling ‘Slow Lows” and steroidal and evolved Alphas to make things all the more horrifying and difficult.
Like most undead films, their writers and directors love to inject their product with social commentary. George Romero, Lucio Fulci, and Danny Boyle had plenty to say concerning the state of the world. In 28 Years Later, Boyle’s at it again with undertones to a post-COVID world and a post-Brexit Britain. The problem is that his third entry in the series just isn’t that interesting. It lacks the energy and excitement of the first film. It also doesn’t help that Aaron Taylor-Johnson’s character is wholly unlikable and makes one bad decision after another.
On the plus side is Alfie Williams as Spike. He’s fantastic and will for sure be front and center in the 4th film, due out in 2026, titled 28 Years Later: The Bone Temple. Also, if you love Ralph Fiennes, then you won’t be disappointed. Fiennes and Williams take over the final third of the movie. They elevate what was, essentially, a coming-of-age/family melodrama for the first hour. Jodie Comer as Isla is fine. But she seems like she’s in a different film. Which is understandable, considering she’s mentally checked out for much of this one.
There’s no denying that Boyle is a master filmmaker. He filmed 28 Years Later wholly on iPhones. Albeit tied into the most insane-looking camera rigs you’ve ever seen. Still, compared to the first film, which came out almost a quarter century ago, 28 Years Later doesn’t measure up. The colors are (purposely) muted and dull. And the set design is, for the most part, bland and unoriginal. A Swedish soldier (Edvin Ryding) joins the final third of the film for comic relief and, just when the characters seem to be finding their groove, he quickly disappears.
Ralph Fiennes stars in “28 Years Later” (2025). Photo courtesy of Sony Pictures Releasing.
Conclusion
Maybe it’s that for the last twenty-five years we’ve been oversaturated with all things undead. Perhaps we simply expected a pair of OGs (Boyle and Garland), who are throwing their hat back into the ring, to deliver something truly unique and exceptional. 28 Years Later is a perfectly “OK” undead/horror movie. It’s got some top-notch camera work and fine acting. Especially Alfie Williams and Ralph Fiennes. However, to have one jump scare in the entire film shows you how much Boyle has changed direction.
It’s just not on the same level as the now beloved classic that is 28 Days Later, and not as “big” and epic as Juan Carlos Fresnadillo’s 28 Weeks Later. There’s also an ending scene in the new film that’s completely out of left field and off the rails. It’s a call back to the film’s beginning and sets up the sequel rather nicely. However, it likely will piss off some Boyle/Garland loyalists.
Currently, 28 Weeks Later has grossed about $67 million on a whopping $60 million budget. For some perspective, the original 28 Days Later made over $80 million on a minuscule $8 million budget. When all is said and done, this polarizing threequel will make its money back and then some. The fourth installment has already finished filming and has promised to bring back Cillian Murphy’s ‘Jim’ character in some fashion, with Murphy having a supposed major role in the third and final film in this new trilogy.
28 Years Later, starring Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, and Alfie Williams, is directed by Danny Boyle, written by Alex Garland, and playing in theaters globally. It’s being distributed by Sony Pictures Releasing.
On Truth & Movies this week, The Rage virus rears its ugly head again in 28 Years Later, we check out Pixar’s latest, Eliot and finally, for film club it’s The Adventures of Buckaroo Banzai Across the 8th Dimension.
Joining host Leila Latif are Fatima Sheriff and David Jenkins.
Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.
To honour half a millennium of tradition and innovation, Disaronno invites you to join the worldwide celebration by posting a toast on social media using the hashtag #disaronno500cheers
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
