Eighteen years separated 28 Years Later (2025 ) from its predecessor 28 Weeks Later (2007 ). Now, its sequel arrives eight just months later.
The Bone Temple commenced filming four weeks after 28 Years Later concluded production. Both films completed filming before 28 Years Later’s release.
When I saw it in May, I was taken aback by its visually inventiveness. I didn’t think that director Danny Boyle could repeat the arresting experience delivered by 28 Days Later (2002 ).
There was nightmarish imagery, disorientating camera angles, and splicing images of the movie with other historical British films. The storytelling was similarly bold, juggling comedy and profound meditations on death and family with moments of visceral, bloody carnage, and it all fit seamlessly.
The Bone Temple is made from the same mold: very much akin to its predecessor, but also the result of unexpected and delightfully wacky creative choices, making it a memorable standalone film.
Immediately after Spike (Alfie Williams ) encountered and joined the group of anarchic “Jimmys” led by Jack O’Connell’s Jimmy at the end of the previous film, he quickly learns of their vastly different attitude towards surviving post-apocalyptic Britain. Meanwhile, Dr Kelson (Ralph Fiennes ) continues to memorialise the dead, and grows increasingly curious towards Samson, the infected’s Alpha leader, who is the greatest threat to Kelson’s life.
28 Years Later was well worth the wait, and I would have been more than happy to wait a couple of years for the next installment if it meant sustaining that standard. Fortunately, despite changing directors from veteran Danny Boyle to Nia DaCosta, The Bone Temple is just as unruly and inventive. Screenwriter Alex Garland is the brain behind this new trilogy, and the depth of characters and worldbuilding he showed in 28 Years Later continues here. The foundations set in his screenplays have been incredibly thoughtful and unconventional.
This film distinguishes itself by focusing less on Spike, and exploring survival from different perspectives. Ralph Fiennes’ character is explored further, and wisely so.
Through Fiennes’ earnest characterisation, Kelson quickly becomes someone you empathise with. He is the portal to our own reality, listening to classic 80s and 90s songs on an analogue record player, singing as he goes about his chores, and looking for social connection. He is a relic of the forgotten past, and seeing his compassionate, optimistic attitude clash with Jimmy’s (Jack O’Connell ) immorality is an intriguing dynamic which, when they share the screen, captivates.
The discomfiting blend of horror and comedy carries over, evident in some fantastically conceived sequences. One memorable scene features a death duel with a shocking, grisly conclusion.
The scene’s brilliance is the disconnect between the urgency of one man’s wound, with another’s total lack of concern or empathy. It is, perhaps, a commentary on modern ruthlessness where survival of the fittest is paramount, and the weak fend for themselves.
O’Connell is entertaining as a deranged Satanist convinced of a higher calling. Because his followers do not know any different, they gladly believe his insane scripture. Wielding power through fear and lies feels timely, and I enjoyed the tongue-in-cheek approach.
These films could rely on the “zombies” for their gory set-pieces. Instead, the desire is to deliver identifiably human stories. The Infected, as a threat, are sidelined.
Refreshingly, there is an unusually theatrical climactic set-piece; a product of the film’s effective character developments. I was grinning at the audacity of its inventiveness.
The film probably misses Danny Boyle’s striking direction, but this is a brilliant second installment, and a fulfilling standalone film.
4 / 5
In Galway cinemas now.
