THE STORY – Dr. Kelson finds himself in a shocking new relationship with consequences that could change the world as he knows it, while Spike’s encounter with Jimmy Crystal becomes a nightmare he can’t escape.
THE CAST – Ralph Fiennes, Jack O’Connell, Alfie Williams, Erin Kellyman & Chi Lewis-Parry
THE TEAM – Nia DaCosta (Director) & Alex Garland (Writer)
THE RUNNING TIME – 109 Minutes
When a horror franchise reaches a level of popularity, an inevitable process soon follows. Quickly assemble a follow-up that can cash in on the newfound success of the intellectual property, and keep turning out new products of diminishing returns until it slowly limps away from the cultural landscape because of poor reception. At first, this seemed to be the fate of “28 Days Later,” a new horror film that thrilled audiences with a new twist on a familiar concept, only to be diminished by a sequel that failed to deliver on much of the intrigue that made the inaugural outing so impactful. With more than a decade passed, the corpse has once again resurrected with fresh blood. “28 Years Later” was impressive in some facets of its story but struggled in others. Danny Boyle and Alex Garland attempted to blend novel ideas into the series while maintaining the atmospheric roots of the first film. It was a mostly engaging effort, but its flawed execution kept it at a distance. “28 Years Later: The Bone Temple” is once again back in the world, trying to expand the scope of its commentary. It pleases me to say this task is accomplished with far greater results, showcasing a film that holds a mirror up to humanity’s twisted corruption that survives just as strongly as the microscopic virus that continually threatens to destroy it.
At the very end of the previous film, our protagonist, Spike (Alfie Williams), found himself in a very precarious situation. Separated from the village he was born into after becoming disillusioned with his place amongst that community, he has chosen to live out on his own. That’s when he crossed paths with a dangerous gang of misfits: a cult of brutal killers who all dress in tattered tracksuits and frazzled blonde wigs. They all answer to the name “Jimmy,” which is in reference to their leader, who has given himself the namesake of Sir Jimmy Crystal (Jack O’Connell). Sir Jimmy is on his own crusade, believing he is the son of Satan and enacting a spread of evil gospel that tortures and murders anyone who crosses his path. Skip is a reluctant participant in this group, whose disposition does not align with its constant bloodlust. Their travels intersect with Dr. Kelson (Ralph Fiennes), who has continued his own isolated experience, leading to meditative encounters with the hulking Alpha creature he has nicknamed Samson (Chi Lewis-Parry). An odd bond forms between them, a connection that may hold a vital key to understanding the infected more deeply. It’s a process that must be explored before these two forces collide in a violent match.
There seems to be an objective to broaden the horizons of this new series and bring more reflective examination of its thematic weight. The previous entry commented on national isolationism and an introspection on accepting death. These were very compelling notions that struggled to thoroughly blend with the established base of the series. The tonal swings felt too drastic, quickly oscillating between a moving character portrait of loss and grief to a broadly appealing spectacle that harshly clashed with the more somber perspective. Garland has a tighter focus on his narrative, with the philosophical points flowing more naturally into the overt horror elements. When it comes to the latter, the set pieces are intensely graphic and brutal. There is no hint of joy in witnessing this carnage. Most of the violence is not committed by the infected but by this group of impressionable young people who are led to commit gruesome acts on the innocent. Bodies are flayed upon living victims, and knife wounds cut slowly into flesh. Even the brief moments we see of Samson eating the brains from a severed head are captured with so much detail that it churns the stomach.
But it’s a fitting continuation of the themes that have always underpinned this series. The first film had a character look upon the rampant destruction caused after the outbreak, only to lament a return to normalcy of “people killing people.” The virus has not drastically altered humanity; it has merely exposed our instincts to their primal indulgences. That is present within the gang of Jimmys and their own predilection for torture. Yet, mixed within these actions comes another layered analysis. Religiosity is at the core of Sir Jimmy’s motivations, but it thrives on the same twisted tenements that fueled other leaders of similar movements before the fall. Sincere beliefs are mangled with a web of self-gratifying narcissism and a need to control malleable minds that are easy to submit to assertive forces. He is just another amplification of this toxic human spirit. Garland’s screenplay digs far deeper into the thematic territory to unearth a resonant understanding that connects with the larger world in a far greater capacity than its predecessor. The storytelling shows some of the same clunkiness in switching between deep and shallow tones. Still, the stark presentation of the violence gives it a more serious aura, which, in turn, makes the more profound observations that much more engrossing.
While Garland has returned to pen this screenplay once again, Boyle has chosen to step out of the director’s chair and hand the reins to Nia DaCosta. Her filmography to date has been decidedly mixed. Her work has always featured a collection of striking sequences hamstrung by a weak narrative and flat characters. It’s almost the opposite issue here, where the exceptional writing doesn’t always flourish under the guise of fairly standard filmmaking. Cinematographer Sean Bobbitt is not creating complex iPhone rigs to capture odd angles, nor does the editing have the same frantic pace. There’s a more controlled approach to direction, as if the first film were the pilot that set the template for the series’ aesthetics for other directors to follow. It may not possess the same bag of flashy tricks, but she wisely stays focused on the power of the themes within this story. It may be modest, but at least it doesn’t distract with a “bullet time” sequence that feels needlessly gratuitous. There is one glorious set piece towards the end that puts on a fiery display of energetic fury that is an absolute delight to watch, a moment that is keenly aware that playing for histrionics is the right call for the moment at hand to leave its characters and the audience with a memorable impression.
Spike may have previously been the primary focus of the story, but his presence has been sidelined for this entry. That isn’t to say it’s without purpose, nor to diminish the fantastic work that Williams delivers. The courage that Spike found within himself to become self-sufficient and mature has retreated into nervous angst, which is in a constant state of anxiety. The gang has turned him into a cowering figure who must tolerate this disturbing violence in order to survive, but that task proves too difficult to master. He may not have the same powerful arc, but he is no less compelling. The greater emotional weight is given to Fiennes, who builds upon the empathy already established to craft an endearing portrait of a man searching for answers in all this chaos. His scenes with Samson are oddly touching, two souls that are both adrift and alone in a fractured world. Fiennes has a commanding screen presence that effectively delivers a soulful tenderness that is profoundly moving. O’Connell may have found a knack for playing sly villains, and while this turn isn’t quite as memorable as his vampiric portrayal in “Sinners,” he does manage to demonstrate once again what a fantastic actor he is. Sir Jimmy is unabashedly cruel with his own brand of sleazy charm that makes him a magnet for these followers. But he is never played as the easily distilled con man he could be. There is a complexity to his ideology that the performance taps into. Sir Jimmy is an exaggerator for personal gain, but he builds on his trauma to concoct the fantasy that he has control over his destiny. It’s a fascinating role that O’Connell effectively inhabits. Lewis-Parry is given far more material than any previously infected character has before, a decision that could prove to be divisive for an established story that intentionally stripped away the humanity of those who succumbed to this virus. It opens the door to a more layered representation, which gives the role a more earnest portrayal he can embody. While it bristles against established lore, it offers a window into an emotional perspective that is alluring to explore.
“28 Days Later: The Bone Temple” also concludes with a cliffhanger that promises a continuation with these characters, this time reaching back into the roots of the series. Admittedly, it’s still just as frustrating a conclusion, but there isn’t the same jarring shift in tone, which is appreciated. That overall expression is much more consistent, and this film takes what was most alluring about the first film and expands on it in a more fulfilling way. Garland’s screenplay has a more natural flow, despite occasional disruptions in that momentum, which emphasize the harsh environment these characters are forced to live in. The gore isn’t meant to be celebrated but taken as a part of the overtly cruel hand that is delivered upon those seeking power through religious texts. It’s what the apocalypse promises, and seeing this thought experiment played out in this franchise is a refreshing take that doesn’t lose any effectiveness. Even with crafts that, at worst, could be described as serviceable, the narrative and performances are so captivating that they more than compensate. Unlike many horror franchises, this re-invention has seemingly found a way to improve its stock between entries. Here’s hoping the proposed next chapter continues this trend, because this is already an encouraging sign of what could be a profoundly gripping venture.
