28 Years Later: The Bone Temple is the fourth entry in the 28 Days Later film series and the second in the 28 Years Later trilogy. I did enjoy aspects of the previous entry, 28 Years Later, but I admit that I came away feeling somewhat disappointed. With this next installment not being directed by Danny Boyle but instead by Nia DaCosta, I had some concerns. Were these worries unfounded, or is this a worthy sequel?
There are two main plotlines: the Jimmy Gang and Dr. Ian’s research. The tonal-whiplash cliffhanger involving the “Jimmy Gang” from the previous film had me concerned, particularly with how ridiculous they initially appeared. However, this film succeeds in making the Jimmy Gang feel genuinely disturbing and threatening. There is a strong focus on one of the gang’s raids on a human settlement, and it results in a truly unsettling sequence of scenes. This contrasts sharply with Dr. Ian, who returns as a much more prominent character in this entry and anchors the research storyline. This is easily the more interesting of the two plots, as it follows his strange friendship with the Alpha Zombie, Samson, from the previous film. It is weirdly entertaining and surprisingly heartwarming to watch this relationship develop. The film effectively explores the juxtaposition of humanity’s cruelty through the Jimmy Gang and humanity’s empathy through Dr. Ian. The inevitable collision between these two paths is tense and impactful.
Dr. Ian is a genuinely compelling character. Watching this deeply compassionate man attempt to keep hope alive while the world slowly grinds him down is engrossing. Nia DaCosta’s confident direction and Ralph Fiennes’ performance convey an immense amount of character depth with minimal dialogue. Fiennes is phenomenal, bringing remarkable subtlety and nuance to the role, and he delivers an absolute standout moment in the final act. Jack O’Connell is also excellent as Sir Jimmy, infusing the human villain with an unpredictable, unsettling, and almost childlike energy that makes him deeply disturbing. Chi Lewis-Parry is a surprising standout as well, as he is given more room to imbue the Alpha Zombie with personality this time around.
Alfie Williams returns as Spike, and despite having less screen time in this entry, he once again delivers a strong performance. His character completed a coming-of-age arc in the previous film, learning how to survive against the infected. The Bone Temple presents him with the next logical challenge: witnessing the cruelty of humanity firsthand. You truly feel for Spike, as he seems genuinely terrified of Sir Jimmy and his gang, and you find yourself rooting hard for him to escape. One of the more notable members of Jimmy’s gang is Jimmy Ink, played by Erin Kellyman. She brings a balance of toughness and empathy that aligns well with the film’s themes. Her interactions with Spike add a much-needed sense of heart to the Jimmy storyline.
Nia DaCosta’s decision to shoot on digital cameras rather than iPhones is noticeable. Visually, the film looks far better, with cleaner, clearer shots throughout. The cinematography captures both the eerie atmosphere and the beauty of the locations more vividly. While the zombies felt somewhat underwhelming in the previous entry, the few zombie set pieces featured here manage to make them feel frightening once again.
That said, the film is definitely lacking in zombie set pieces overall. Most of them appear in the first act, and afterward they are largely absent, aside from Samson. At times, you may almost forget that the story is meant to take place during a zombie apocalypse. I also found the cult elements to be less engaging. It’s a concept that has been explored extensively in other films and shows, and this movie doesn’t do much to differentiate its take. Additionally, because this storyline has to share the runtime with the far more compelling Dr. Ian plot, the Jimmy Gang doesn’t receive enough development. As a result, Jimmy’s followers feel largely like disposable fodder. Even Erin Kellyman’s Jimmy Ink ultimately comes across as simply “the nicer one,” without much added depth.
My final gripe is admittedly nitpicky, but the film lacks much of the energetic flair that defined Danny Boyle’s style. There are no especially dynamic visuals, rapid editing, or surreal flourishes, which makes this entry feel more visually standard. While there is some effective use of licensed music, Hildur Guðnadóttir’s score is ultimately not very memorable.
Overall, The Bone Temple ended up being far better than I expected. This series continues to take big risks, and this time I think they paid off. Nia DaCosta does an impressive job of imprinting her own style onto the franchise while still respecting its core themes. The ending is also far more hopeful than anticipated, and I’m genuinely excited and optimistic about the third entry in the 28 Years Later trilogy.
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