“28 years later” by Danny Boyle is very close to being one of the Best zombie movies never done (yes, I know that the exposed ghouls are not technically Zombies but rather “infected”, but for all useful purposes, they are zombies). Then the end arrives. Don’t worry: I’m not going to give spoilers in this criticism, but it is almost impossible to speak of “28 years later” without emphasizing that the end lands with a thud.

Because studios cannot be content to do A The film Plus, “28 years later” is the first of a brand new trilogy (the second film, entitled “28 years later: The Bone Temple”, should be released in January 2026). Thank you to this approach, “28 years later” just can’t END – He must set up the next story. And it is regrettable, because everything that leads to this moment of the rest is remarkable and effective, which leads to a frightening, horrible and surprisingly emotional experience. Then, a completely confusing and heartbreaking Coda arrives and leaves a bad taste in your mouth.

Are the last minutes of the film sufficient to sabotage the rest? No, fortunately. But I certainly want they were not there. I hope that Boyle and the writer Alex Garland thought of leaving alone and let us sit with an otherwise powerful horror saga. I can’t help but prevent myself from wondering how this end will play with public members who do not realize that this is supposed to be the first episode of a trilogy; I could say that some people in my projection are clearly not stuck to this, were completely disconcerted.

However, almost everything that leads at this time works and works extremely well. “28 years later” is the third entry of a story that started all the way in 2002, where Boyle and Garland joined forces to “28 days later”, a post-apocalyptic saga on Great Britain being overwhelmed by blood madmen infected with something nicknamed the rage virus. People attacked by other infected people find themselves infected almost immediately – their eyes become red, they spit blood from their mouths and they immediately begin to attack and kill anyone unlucky to be in their general vicinity. “28 days later” was a horror photo in down and dirtyShoted on digital technology by Anthony Dod Mantle, with Cillian Murphy wandering around a strangely abandoned London. “28 days later” was followed by the suite “28 weeks later”. Boyle did not return to make this film, and Garland contributed only to rewritings.

Now, the original team (including Mantle) is back, and they have only improved the formula. While “28 years later” does not have the same grainy digital atmosphere as the original, Boyle and Mantle are creative, using all kinds of towers and visual sleight of hand to take the spectator at the devu. Boyle and the editor Jon Harris will frequently move images and images in stock of other films in the middle of a scene, and there are moments of violence that invoke the effect “Time Bullet” used so memorable in “The Matrix”, where the image will freeze so that the camera can turn and show us bursts of blood in various angles. It’s shocking and unique, and it constantly made me uncomfortable in the best possible way.

After a brutal prologue who does not waste time released horrible images, “28 years later” cuts to the heart of the question. As the title suggests, 28 years have passed since the virus was unleashed, and the epidemic was contained by the quarantine of the United Kingdom and cutting it from the rest of the world (the Garland scenario later hammers the point that the outside world has essentially evolved as if hordes of zombies do not yet track down).

An island community has learned to live in harmony, cut off from the continent. It helps that the island is only accessible via a road that disappears when the tide arrives. Spike, 12 years old (newcomer Alfie Williams, who is wonderful here, transforming a confident and realistic performance) lives on the island with his rough father and destroyed Jamie (Aaron Taylor-Johnson) and his mother in suffering Isla (Jodie quit), who was inflicted with a mysterious disease.

The community has a custom in which young people go to the continent for a hunting trip. They are not a hunting game, however – they are infected with hunting. Spike and Jamie are heading, arcs and arrows in hand, and the journey does not go exactly as planned. During this first hour of the film, Boyle built an almost unbearable tension, punctuated by gusts of bloody violence. The infected have evolved overtime, and they have become naked and naked animals that invade, guided by managers of obstacles known as Alphas. They also seem to be smarter than previous films.

During the hunting expedition, Spike learns a mysterious and potentially crazy doctor (finally played perfectly by Ralph Fiennes) living in isolation, and the boy obtains him in the head that this medical man can heal everything that is hurting his mother. From there, a second trip begins, with Spike and Isla leaving to find the doctor, risking life and members in the process. All in all, “28 years later” is a surprisingly simple affair: there is no bigger diagram at stake here, apart from Spike’s hope that he can save his mother.

This sets up a disarming emotional arch that you don’t really see in films like this. Comit, one of the best actors at the moment, is not enough to do here, but there is a tenderness between mother and son who brings the film far. Do not be surprised if “28 years later” makes you cry. This mix of flawless gore and real and honest emotion is so different from everything I used to see in a zombie film, and it raises “28 years later” to heights to which I did not expect at all. This is why the last moments are so frustrating.

Again: no spoilers, I swear. All I would say is that the tone of these last moments is completely in contradiction with everything that preceded, to the point where we have the impression of tripping in a completely different film. This may be the point, since the next continuation “28 years later: The Bone Temple” East A completely different film, with a different director (“Candyman” restart the filmmaker Nia Dacosta who directs her). Intentional or not, this scene is discouraging, to the point where I wish Boyle had stuck it later as a post-key scene instead of blurring it in the main film.

The end is a massive disappointment, but it cannot cancel everything before. Boyle and his team spoke of a kind of sensory overload – the mixture of violence, mixed media and an often shocking soundtrack with a feverish effect. “28 years later” is both frightening And Touch, and it’s not easy to make. It is impressive, efficient and memorable. But someone should have told Boyle in Nix this final.

/ Film assessment: 8 out of 10

“28 years later” opens the rooms on June 20, 2025.