Des survivants isolés découvrent l'horreur sur le continent : le virus de la rage a évolué, mutant infectés comme survivants. Une mission de routine révèle des secrets dévastateurs.Des survivants isolés découvrent l'horreur sur le continent : le virus de la rage a évolué, mutant infectés comme survivants. Une mission de routine révèle des secrets dévastateurs.Des survivants isolés découvrent l'horreur sur le continent : le virus de la rage a évolué, mutant infectés comme survivants. Une mission de routine révèle des secrets dévastateurs.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 3 victoires et 8 nominations au total
- Jimmy's Sister
- (as Darcie Summer Smith)
- Jimmy's Father
- (as Sandy Bachelor)
Avis à la une
Unfortunately, the momentum doesn't last. As the film transitions into its second half, it shifts gears into a more melodramatic human drama. The focus moves away from the infected threat and toward a lackluster subplot involving a mother and a doctor. The characters at this point make some questionable decisions which really doesn't help the film's validity.
The final act unfortunately teetered on lacklustre and borderline comedic, completely changing the tone of the first act.
I stand by saying the directing, camera work, editing and cinematography were the highlight. The landscapes and post apocalyptic setting was beautiful to look at. These elements made the film worth watching. There were some plot elements that were interesting enough but were never explored to the full potential.
However a weak plot, even weaker characters and a lacklustre ending prevent this instalment from being memorable.
My biggest "why" is this movie being attached to the 28 series. Completely unnecessary and misleading. It was probably done to attract a wider audience; otherwise, it would have fallen into the unpopular indie horror film category with little financial success.
As a 28 fan, I was disappointed, however, in the first 15 minutes I realised I should forget I'm watching a 28 movie to have a chance of enjoying it.
The cinematography and art direction were out of the box in a good way. The cast and acting were good.
Should have guessed from the 15 certificate that it would lack the horror and the edge of the earlier films. I don't want to spoil the plot but there are 2 or 3 plot lines that really don't make sense. The ending I felt was particularly bad.
I get that the story is a very blunt metaphor for Brexit and the theme of rebirth (literally in one case) is very clear but just didn't gel or work as a story for me.
If you are looking for a continuance of the earlier, darker, scarier films I fear you may also leave the cinema disappointed.
This is my personal speculation, but I think Danny Boyle and Alex Garland thought that perhaps after the release of 28 DAYS LATER, there have been many zombie films since (some of which are good and innovative), so they just didn't want to be straight forward or play it safe with 28 YEARS LATER. In doing so, I don't think the film completely delivers on what it looked to promise in both incredible trailers.
In truth I did kind of know that going in because after watching other movies from Boyle and Garland, a seasoned movie buff knows they love to subvert so it really shouldn't be surprising. This is also the first in a new trilogy of films. I had to keep that in mind as I walked out because I don't have the big picture just yet.
I feel as though Alex Garland had like three ideas, presented them to Danny Boyle and they both decided to mash them up together. A story about coming of age/rite of passage, a bond between a mother and son, and the philosophical idea of death and what it means, almost nihilistic. All in the back drop of survival horror.
So that basically made my experience all over the place because it can get jarring. It's ambitious for sure and Boyle and Garland swing big, but I can see it being not cohesive for some people.
I'm in the center, but I do lean a bit towards a more favorable outlook and that's mainly because of the actors. I thought Alfie Williams who plays Spike, shouldered this film very well. He is the emotional anchor in the film and he carried it with striking maturity and nuance. There's a slow erosion of childhood innocence and it was very subtle, but also very powerful. The erosion of childhood innocence is also something I think Boyle and Garland has in play for a particular character in the next sequel - a boy named Jimmy who watched Teletubbies as shown in the trailer.
Ralph Fiennes is just always good in everything and he's a stand out as Doctor Ian Kelson. I hope we see more of him down the line. Jodie Comer is Isla, Spike's mother who is suffering from an illness seeking out Kelson with Spike. She is also fantastic and anchors all the emotional elements of the film with Alfie Williams. Aaron Taylor-Johnson's Jamie, Spike's father I think will have more to do in the sequel, and his character is used in good effect in the beginning of the film. Edvin Ryding's Erik a Swedish NATO soldier is memorable too. Everyone brought their A-game.
There are new concepts explored with the infected and the rage virus. While I have a lot of questions about it, they were all fascinating ideas. I'm curious to see those layers get peeled. Good action and some decent scares from the infected too, not to mention also very naked.
Boyle loves to experiment with editing and the sped up scenes are here just like in the first film, but there are moments of some awkward cuts in-between. I think people will either like or hate that.
The ending is the epitome of weird and jarring, but again, keep in mind that there will be a sequel and hopefully a concluding threequel where Cillian Murphy can come dominate his role as Jim. Speaking of Jim, I don't know if it was deliberate, but the name Jim seems to be a common thing and I am curious if it will have any kind of connection or none at all.
So bottom line, yes I enjoyed it. I enjoyed what Boyle and Garland were trying to say and the great performances help alleviate the jarring tonal shifts. However, I understand some of the disappointment, as I am a massive fan of the first, who also really enjoyed the comics in what I think are not canon anymore and mildly enjoyed the sequel 28 WEEKS LATER.
This film basically skipped straight to being a thesis film with horror elements. This isn't a one-off indie film, but Boyle and Garland sort of treat it like that. It's part of a franchise with a 20+ year fanbase. Fans want to be re-invited into the world they remember. Give some sense of continuity, not just in lore but also in tone. Then gradually show the new direction.
Boyle and Garland made the exact opposite of a nostalgic legacy sequel. They could have played it safe, but if they had and if it failed they risked creating another STAR WARS: THE FORCE AWAKENS situation, where nostalgia drives the hype, but the film ultimately lacks a real identity of its own and sets up a trilogy with shaky creative footing failing to evolve.
Instead, they forced a fresh, cerebral narrative at the risk of alienating the fans. That's the paradox. It's that classic art vs. Expectation battle and Boyle and Garland chose art, knowing full well the trade-off.
28 YEARS LATER is bold and new. I do tip my hat off for Danny Boyle, who thrives in visual and tonal whiplash and Alex Garland who is allergic to clean resolutions or simple narratives. Together they create artful chaos which is this film, but for a film that took over a decade to arrive, a bit of familiar footing first might have allowed the fans and the audience to follow them more willingly into the deeper waters they clearly want to explore.
7/10.
The filmmaking on display is Boyle at his best. Filming on digital is often frowned upon by film purists. Leave it to Danny Boyle to showcase the strengths of digital cinematography. The frantic editing, the unnerving camera movements and zooms, the contrast rich lighting... All make for an unsettling experience. The night vision scenes, drenched in red lighting are particularly eerie.
Thankfully, the infamous "boots" poem which helped turn the teaser for 28 years later, into one of the single greatest trailers of all-time (no hyperbole), is incorporated in the film. It's the best scene in the film.
28 years later fits right as rain, into the world of the "Rage Virus". It tells a surprisingly touching story about survival, anger, fear and love. Nothing turns out as you'd expect and nobody is as they seem. I truly love this film. All the more reason, the last scene of the film legitimately baffled me... It features an event and characters that are at such odds with the rest of the film. Surely, on purpose. But the contrast was annoyingly jarring. What a weird film... But it's fantastic!
How '28 Years Later' Reinvents Horror
How '28 Years Later' Reinvents Horror
Le saviez-vous
- AnecdotesThe trailer features a distinctive recording of the poem "Boots" by Rudyard Kipling, read by the actor Taylor Holmes in 1915. The poem's repetitive rhythm imagines the march of British soldiers during the Boer War, and this recording of the poem is used by the U.S. military to simulate the psychological distress of being held captive.
- GaffesSpike and Isla see the Angel of the North sculpture shortly after leaving Holy Island. The sculpture is over 60 miles away in Gateshead, much farther than they are shown to have traveled.
- Citations
Dr. Kelson: Spike, momento mori, what did it mean?
Spike: Remember we must die.
Dr. Kelson: And it's true. There are many kinds of death. Some are better than others. The best are peaceful where we leave each other in love. You love your mother?
Spike: I love her.
Dr. Kelson: And Isla you love Spike?
Isla: So much.
Dr. Kelson: Memento amorous. Remember you must love.
- ConnexionsFeatured in Midnight Screenings: 28 Years Later (2025)
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- 28 Years Later
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 60 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 62 476 286 $US
- Week-end de sortie aux États-Unis et au Canada
- 30 002 966 $US
- 22 juin 2025
- Montant brut mondial
- 128 137 774 $US
- Durée1 heure 55 minutes
- Couleur
- Rapport de forme
- 2.76 : 1