The DVD extras include three alternative endings, all of which conclude with Jim dying.
Thatâs the one. Whoo! Really quite strange for the last 2/3 of the movie to never match the same level as the intro.
Parthenope
Iâd youâve seen those AI short videos where they mix together asthetics from a fashion house with Harry Potter imagine an art house film mixed with Yves Saint Laurent. The locations are incredibly beautiful, the people are Hollywood 10/10 models, the titular Parthenope, Celeste Dalla Porta, painfully beautiful, and theyâre all dressed perfect.
If youâve noticed that all Iâve talked about are aesthetics, thatâs all the movie has going for it. Itâs very arthouse so thereâs no full normal sounding conversations, no clean set ups and explanations. Kind of like a fragrance commercial.
Itâs not a complete waste, but it doesnât get to a point where I feel like there was something.
This is a good review
And the first couple of minutes
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more like parthe-NOPE amirite
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Nice buzz so far. Breakfast All Day is really the only movie critic YouTube channel I keep up with these days, and theyâre raving.
Thatâs how I mentally pronounced her name throughout the movie.
My usual go tos are Stuckmann and Jahns (thougj Jeremy lost a bunch of goodwill giving a positive review to Am I Racist?)
Havent heard of Breakfast All Day. Ill have to check them out
Stuckmann has interesting thoughts at times, but he lost me when he basically adopted a full-time ass-kissing posture because he wanted to get into the filmmaking industry himself. Seems he basically just wonât review a film negatively at this point, so it doesnât feel honest. Or at least thatâs how I felt when I scooted him out of my feed; I havenât really had any of his stuff pushed my way in a while.
Jahns is fine. Iâve watched a number of his videos and donât feel strongly one way or the other. I wouldnât refuse a click if he had a reaction to something he was interested in, but the algorithm doesnât seem to send him my way these days either.
Christy and Alonso of Breakfast All Day just strike the right tone for me. Think theyâre a smaller channel though; looks like just 36,000 subscribers next to the 2 million that Stuckmann gets.
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The Final Reckoning:
Spoilers follow, the spoiler system sucks on the phone so im not adding it but I doubt anyone just starts reading in the middle of a multi paragraph review.
So, im seeing the reason for some of the hate Ive seen in this thread. The first act is pretty strongly masturbatory, but the last half or so of this movie is so damn good, it cancels out the negatives from the frontloaded BS. Its not entirely without merit though. I went with two people brand new to the series (yes, I think this is weird as well) and they were enthralled by the recaps and it helped them understand better what was happening in the second half, so for those not as versed in the lore, annecdotaly it was pretty effective.
A few additional negatives. The lack of Ilsa is noticeable. She is such an integral piece of the second half of the series that not having her in the finale is glaring. Im less concerned about Ethanâs wife not being there. Her story was wrapped up well in Fallout.
Pom Klementeiff bring limited to little more than 1 or 2 scenes of badassery was disappointing, but I get it.
For positives, the movie does a great job wrapping up the storylines of all the main characters. Lutherâs ending both at the midpoint and the end of the movie are handled really well, Benjiâs 6 movie asscension from lowly tech boy to fully fledged team leader, and Graceâs Vegas magician level skill of slight of hand were also paid off well.
And oh yeah, nobody bothered to mention that motherfucking Milchick shows up out of nowhere and steals 20 minutes of the movie? Loved about every second that man was on screen.
The latter half set pieces are incredible. The submarine parts, both getting to the sunken sub and the sub approaching the cliff were so tense. Goddamn, that whole portion was a good time. The plane set piece and ultimate villain death (including one of the gnarliest pieces of PG-13 violence Ive ever seen) were awesome, and then the fire parachute jump⌠unreal.
Benji using ultimate assassin skills to have impromptu surgery performed on him provided some gross levity to the near nonstop tension we had to that point.
Its great. It doesnt surpass the sheer insanity of the 4-6 trilogy in my mind, but its a damn good movie and deserves a watch in the theater.
4.25/5
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Non spoiler reviews for 28 Years Later.
Reviews
Manila Bulletin - Philip Cu Unjieng
Whatâs nice to note is how Boyle has cast consummate actors in this film, the type who could read off a label of canned sardines and still find depth, emotion, and spark in the delivery of those lines. Initially, it seems that Taylor-Johnson will be doing the heavy lifting. Still, it merely misleads us, as the narrative then focuses on Jodie Comerâs Isla and onto Fiennesâ Dr. Kelson. I want to give a special shout-out to the young actor Alfie Williams. He is the one carrying the whole film, and this is his first feature film work, having previously done a TV series. Boyle teases out an excellent performance from the lad, and I wonât be surprised if many film reviewers in the forthcoming week will single him out as being the best thing in this film. And whatâs impressive is how he manages this with the three heavyweight thespians who are on board.Thereâs the horror and the suspense as a given for this cult franchise, but look out for the human drama and the emotional impact. Itâs Boyle and Garland elevating the film, and rising above its genre.
AwardsWatch - Erik Anderson - âBâ
Most of the time, 28 Years Later is frequently begging to be rejected by general audiences, even as it courts the admiration of longtime fans, who may nonetheless find themselves put off by the filmâs turn toward unearned emotion, its relatively meager expansion of this universe, and its occasionally jarring tonal shifts. (The abrupt sequel-teasing stinger feels like itâs from an entirely different strain of the zombie subgenre.) Much like the virus at the seriesâ center, itâs a film whose DNA is constantly mutating, resulting in an inconceivable host subjectâone that is both corrosive and something of a marvel.
DEADLINE - Damon Wise
Most threequels tend to go bigger, but 28 Years Later bucks that trend by going smaller, eventually becoming a chamber piece about a boy trying to hold onto his mother. It still delivers shocks, even if the sometimes over-zealous editing distracts from Anthony Dod Mantleâs painterly cinematography
The Hollywood Reporter - David Rooney
One of the chief rewards of 28 Years Later is that it never feels like a cynical attempt to revisit proven material merely for commercial reasons. Instead, the filmmakers appear to have returned to a story whose allegorical commentary on todayâs grim political landscape seems more relevant than ever. Intriguing narrative building blocks put in place for future installments mean they canât come fast enough.
NextBestPicture - Josh Parham - 7/10
Boyleâs exuberant filmmaking and Garlandâs incisive script sometimes clash when forced to muddle through laborious exercises that feel borrowed from the previous films anyway. Itâs a scenario that reminds me of Ridley Scottâs âPrometheusâ and âAlien: Covenant,â two films with intriguing ideas that struggled to fashion them within the framework of the established franchise. Perhaps the continuation will find more clever avenues to explore further and enrich this text. As is, what is left is imperfect but still an enthralling return into a dark but provocative world.
IndieWire - David Ehrlich - âB+â
While Boyle isnât lofty enough to suggest that the infected are beautiful creatures who deserve Godâs love or whatever (this is still a movie about wild-eyed naked zombies, after all, and its empathy for them only goes so far), â28 Years Laterâ effectively uses the tropes of its genre to insist that the line between a tragedy and a statistic is thinner than we think, and more permeable than we realize. The magic of the placenta, indeed.
Rolling Stone - David Fear
Taken on its own, however, Boyle and Garlandâs trip back to this hellscape makes the most of casting a jaundiced, bloodshot eye at our current moment. Their inaugural imagining of a world torn asunder surfed the post-millennial fear that modern society wasnât equipped to handle something truly catastrophic. This new movie is blessed with the knowledge that something always rises from the ashes, but that the risk of regressing back to some fabricated mythology of a Golden Age, complete with Henry V film clips and St. Georgeâs flags, is there on the surface as well. If postapocalyptic entertainment has taught us anything, itâs that the walking dead arenât always the gravest threat. Itâs those who sacrifice their soul and sense of empathy that you have to watch out for.
The Wrap - William Bibbiani
For now, though, â28 Years Laterâ stands on its own â or at least, as its own temporary capper on this multi-decade series â and it stands tall. The filmmakers havenât redefined the zombie genre, but theyâve refocused their own culturally significant riff into a lush, fascinating epic that has way more to say about being human than it does about (re-)killing the dead.
Variety - Peter Debruge
Where the original film tapped into societyâs collective fear of infection, its decades-later follow-up (which undoes any developments implied by â28 Weeks Laterâ with an opening chyron that explains the Rage virus âwas driven back from continental Europeâ) zeroes in on two even most primal anxieties: fear of death and fear of the other. To which you might well ask, arenât all horror movies about surviving an unknown threat of some kind? Yes, but few have assumed the psychic toll taken by such violence quite so effectively as â28 Years Later,â which has been conceived as the start of a new trilogy, but towers on its own merits (part two, subtitled âThe Bone Temple,â is already in the can and expected next January).
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Seems like we entered the era of music biopics with Springsteen next in line.
Phantasm (1974) I went into this completely blind, and holy shit this is a bonkers. One of the most fun horror movies Iâve seen in a long time. Big recommend if you like Argento movies, surreal horror, synth soundtracks, or weird shit in general:
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The person who wrote it must have been on LSD. Really cool though.
Heads up, they get progressively worse. Part II is decent though.
Rewatched 28 Days Later. It is still an absolute banger. Incredible tension and pacing the whole way through. At no point does anyone feel safe. Great performances from everyone. I especially loved the arc for Selina. Brendan Gleeson makes acting look easy. Each death feels earned. Britain like youâve never seen it before. The ending doesnât let off until the credits. It is easily my favorite zombie movie.
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28 Weeks Later
The script for this is just so good â for the first forty minutes. And during that time, I thought wow, this holds up and is quite good.
But then the cracks start showing. While the opening action sequence is a must-see, everything after that is from a director who just canât deliver like Danny Boyle does. The choreography is bad, the camera work is bad, the awful slow-mow strobing effect is bad.
That helicopter sequence mowing through the throng of zombies tho. Delicious hahahahahaha
The ending was the perfect setup for the much better sequel we deserve. And itâs finally here! Looking forward to seeing 28 Years Later.
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28 Years Later (2025)
Movies like this make me feel quite stupid for not being able to glom onto what the hell theyâre even going for a bunch of the time, and yet Iâm inclined to call this a good movie. Very inventive, cool visualsâŚeven while being confused, I was locked in for the whole runtime.
Donât worry; Iâm sure if you read this and are planning on watching then youâll totally get everything. I just didnât. And yet I definitely found it to be an enjoyable experience. Perhaps Iâll enjoy it even more when I start reading smarter movie people explain to me what I watched.
3.5/5
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I feel the need to clarify that the movie has a surface-level narrative that is really simple, and I donât want someone who has seen the movie to be left wondering how the hell I could be confused.
Itâs just that the movie is obviously operating in one or more metaphors, and Iâll be damned if I know what they are.
I saw an item about Sissy Spacek that was cryptic, and it made me fear that she had died and that I was just finding out about the breaking news of it. Not so; sheâs alive and well. Anyway, Googling her to confirm the non-existent news led me to discover this little gem:
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How do you see every movie before release?