Danny Boyle sequel is stylistic, creative, and daring

Gather, and I will tell you the story of the Icelanders of big Icelanders of the continent who built a ruin society, and the cunning boy named Spike who courageously faced demons to meet his destiny.

You may not have thought in 2002 when Danny Boyle’s Lo-Fi 28 days later It was first released, that the elements of high fantasy would never evolve from the style of revolutionary and revolutionary film. But give something as unpredictable as the “rabies virus” enough time and we don’t know how it will mutate.

28 years laterWho puts Boyle with the scriptwriter Alex Garland after the two, the two bypassed the roles of the producers for the 2007 suite 28 weeks latershows the two men working at the top of their powers – and in absolute Sicko mode. This new chapter is strange, unpredictable, gloriously revolting, dark and funny and, when you expect the least, rather touching. It is a complete package and one of the richest horror films for a very long time.

We start with a prologue – we are back in the first aughts (you can see it by the cheap digital video) and the rage virus broke out. A group of terrorized families is together in the Scottish Highlands, trying to keep their children in peace with the Teletubbia (The only thing more terrifying than the howling and spent about death).

After a little boy escapes, we cut at 28 years later and a small community off the coast of the British continent. Although they lack the comfort of creatures, there is something of a normal life, even pleasant, rooted in old English customs. A local restaurant has returned to something from a mead, and young people learn archery. Of some angles, especially when we see the village door and the watchtower, it could be hundreds of years – or even something Game of Thrones.

Our eyes and ears are Spike (Alfie Williams), a 13-year-old child whose father, Jamie (Aaron Taylor-Johnson, looking for a little Aragorn-y), thinks that the boy is ready to make his first trip to the continent. When the tide is low, there is a natural roadway (although if you are caught in the water, the current will lead you to the ocean), but quick trips are essential for the village supplies.

But the continent (that is to say, England and Scotland) was in quarantine worldwide, and even patrolled by European naval ships. Because, you see, the rage virus always flourishes, although it is somehow contained elsewhere in the world.

The details of this are misty, but all you need to know is that the “infected” who, we said in the previous films, would finally die because of their inability to find food, somehow found a source of food.

Indeed, one of the new creatures that slide around Great Britain are grotesque and swollen slime balls which aspire the verses of the earth and are easily killed with a bow and an arrow. More dangerous, however, are the “alphas” – the variants of the rapid infected that we already know, but now larger, stronger and more difficult to kill. (And also, extremely naked.)

Jamie’s first adventure and Spike will quickly say laterally, but the return home is even worse for Spike when he realizes that his father is not entirely the honest man he is known. (A recurring theme of the series after 28 weeks.)

Meanwhile, Spike Isla’s mother (still spectacular Jodie Comer) is increasingly ill. A discovery on the continent leads Spike to learn that there can be a doctor there, so after an intelligent redirection, he is able to pass his mother for another adventure.

There are several parts of action that follow, as well as emotional scenes (and patiently with rhythms) with more characters who enter the story. (Among them, Ralph Fiennes, who first appears as Kooky, then ultimately very wise.)

Screenwriter Alex Garland (Ex machina,, Civil war) is once again skillful to switch between thrills and philosophy, and seems impatient to leave ellipses in the plot, to let the mind wander and to create its own tradition. As in his previous film MenThere is an almost fetishist approach to British folklore, that Boyle Spire with playfulness with the British pop music signals from the Y2K era.

Stylistically, Boyle throws a lot of things into a mixer here, and in a way everything works. The first scenes hinder images in stock of Brittania propaganda films, which has no other motivation than to provide an atmosphere. Each killer of an infected slams on the brakes with a gel frame, and the publishing adopts a sometimes rider approach to present linear sequences, rather opting for a sensation of sensation. In particular, a large part of the film was shot on iPhones, a continuation of use by the first digital video of cheap consumption.

This technical head sign, however, is one of the rare common points between this and the original. 28 days laterPerfectly timed as a post-11/11 product with these famous images of an abandoned city center on the low-resolution stock, feels miles from the tone of this film. For some viewers, it may be a disappointment, but I think it represents a daring step for Boyle and Garland, especially with more films in this world already in the pipeline.

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So prepare for more horrible victims, more gross, more information on how a company could really look like a generation after an unfathomable event. These films are clearly contagious. Grade: a-