Days turned to weeks, weeks turned to years, and now the story once again continues, seemingly picking up just moments after the events of 28 Years Later. This time, though, through the eyes of exciting young filmmaker, Nia DaCosta, who takes over the reins from Danny Boyle to insert herself into the series’ lineage, bridging the gap between the franchise’s return and its planned conclusion to come.
Da Costa has made a name for herself over the past 8 years as an extremely interesting filmmaker to watch, from her feature debut, Little Woods, to her reinvigoration of Candyman, to her own MCU instalment, The Marvels, and most recently, the Tessa Thompson-starring Hedda. It’s that body of work that earned her the trust of Danny Boyle and screenwriter Alex Garland to be given the keys to the kingdom and tackle the fourth instalment in the beloved series. This wouldn’t be the first time that the pair entrusted the hands of an outsider with their creation, either, with the sequel to their original effort, 28 Weeks Later, falling into the welcoming arms of Juan Carlos Fresnadillo. But with the way in which that movie was received critically, with Garland even stating that he didn’t “Conceptually worry” about picking up where it left off when writing 28 Years Later, it’s fair to say they took a big leap of faith in once again handing over control to another filmmaker. Thankfully, the two can rejoice, as DaCosta lands smoothly with her instalment, bringing her vision to life in a way that stays faithful to the roots of the franchise and strides side by side with Garland’s script.
Garland’s pen in 28 Years Later: The Bone Temple, in particular, stands out as not only perhaps the strongest aspect of the film, but also as some of the best work of his entire career to date. His screenplay feels completely alive, with two stories that each are filled with beauty and madness running parallel before converging in one of the most manic scenes you’re likely to see all year. Performed predominantly by Ralph Fiennes and Jack O’Connell, who prove once again why they are two of the finest actors working today.
Fiennes, who we know to be one of the great character actors of the 21st century, turns in a performance that is as unhinged and frenetic as it is deeply human and soulful. O’Connell, on the other hand, builds on his phenomenal work as Remmick in Sinners with a villainous performance that leaves you utterly disgusted by his every move. When the two are on screen together, it’s pure dynamite and has you glued to the screen at all times, hanging off of their every last word.
The fun doesn't stop there, however, with Alfie Williams reprising his role as Spike, whilst Erin Kellyman takes on the part of Jimmy Ink. Williams does see his role reduced in this latest effort, with less of a direct focus on Spike’s story compared to the first, but that doesn’t stop him from delivering yet another emotional gut-punch of a performance with his time on screen. Kellyman, too, brings to the table an excellent screen presence and provides some resistance to O’Connell’s Sir Lord Jimmy Crystal’s wrath.
As for DaCosta’s filmmaking, she pays no interest whatsoever in attempting to emulate Boyle’s visual style, leaving behind the digital madness of its predecessor in favour of a steadier approach. And though it certainly comes off as less ambitious, it retains the gritty horror of what came before it, whilst still managing to give it a wholly original feel.
All that to say, that this is yet another excellent instalment in this series, and perfectly lays up its sequel to give us the best yet. DaCosta had a lot of pressure on her shoulders with the making of this film, as whether or not we ever even saw this series again depended heavily on the success of her instalment, but with Jack O’Connell recently confirming that part three of the Years trilogy is on its way, it would seem that she’s passed with flying colours. Ensuring that not only will audiences remain seated for part three, but for whatever is to come next for DaCosta herself.