28 Years Later Review: Proves Zombies Aren’t Dead Yet

Let’s get the obvious out of the way: 28 Years Later didn’t need to happen. We were good with 28 Days Later changing the game and 28 Weeks Later going full chaos mode. But now that this thing’s finally out? Yeah, it earns its spot.

This isn’t just another zombie sequel. It’s a weird, bleak, slow-burn survival story. It trades running-for-your-life terror for a kind of quiet dread that creeps in and stays. Not everyone’s gonna love that, but it works.

How It Ties In

So how does it connect to the originals? Spiritually, it’s a lot closer to Days than Weeks. The rage virus is still out there, but mutated and way more unpredictable. The UK is still cut off from the world, abandoned like it’s cursed. And instead of focusing on the start or the spread, this one dives into the aftermath — what happens when the world just... stops caring.

There are a few nods to past characters and events, but nothing fan-servicey. You don’t need a rewatch to keep up, but if you know, you know.

Against the Modern Horde

Let’s be honest. We’ve had a lot of zombie stuff lately. The Last of Us went prestige. Army of the Dead went full neon nonsense. And most of what’s on streaming is just noise. 28 Years Later feels different. Smaller, but heavier. It’s not interested in being cool or fun. It wants to get under your skin. And it does.

Boyle’s back behind the camera, and it shows. The look is dirty, handheld, and uncomfortably close. Some of it’s shot on iPhones, which sounds gimmicky but actually adds to the unease. It feels like someone surviving with whatever tech they could find. The panic feels real again.

And the infected? Still scary. There are newer, faster, smarter versions that make Days look tame. But it’s not about body count. It’s about how people cope when the horror becomes normal.

Characters Worth Caring About

Jodie Comer leads this one and delivers, no surprise. She plays Isla, a mother trying to protect her son in a world that’s given up. Her performance is quiet, raw, and a lot more grounded than you’d expect from a movie like this. Ralph Fiennes shows up as this soft-spoken nightmare of a man, and he’s the kind of villain that lingers. Aaron Taylor-Johnson does his thing too, but the emotional weight stays with Comer.

And props to the kid, Spike. Most post-apocalyptic kids are either too precocious or just plot devices. This one feels real. Tired. Confused. Scared. Like someone who’s never known anything but the end of the world.

Worth the Wait?

Honestly, yeah. It’s not flashy. It’s not trying to be the next viral horror hit. It just wants to tell a story about grief, survival, and what happens when there’s no one left to save you. And that makes it stand out.

If 28 Days Later was the spark, and Weeks was the explosion, Years is the smoke that never clears. It’s what’s left behind. And in a genre that’s been done to death, that feels weirdly fresh.

TL;DR
28 Years Later dials things way down. Less action, more atmosphere. Less zombie kills, more emotional damage. It’s not trying to top the first two, it’s closing the loop. And it’s one of the only recent zombie movies that feels like it has something to say.