A sequel to '28 Years Later' has already been filmed. Here's what to know about 'The Bone Temple'
Horror fans rejoice, the sequel to the long-awaited " 28 Years Later," "The Bone Temple," has already been filmed and is due out in theaters next year.
2002's " 28 Days Later" became a cult classic by taking a fresh bite out of the zombie movie genre: instead of a supernatural threat, the undead are infected by the Rage Virus.
"28 Years Later," out Friday, is the start of a new trilogy from the director and screenwriter of the original film, Danny Boyle and Alex Garland. It tells the story of 12-year-old Spike (Alfie Williams) who leaves the safety of the island where his family live to find a cure for his sick mother, Isla (Jodie Comer), on the UK mainland.
By the end of the film, Isla lets the mysterious Doctor Kelson (Ralph Fiennes) euthanize her after he diagnoses her with metastatic brain cancer.
Spike then roams the mainland instead of returning home, and in its final scene crosses paths with a man who calls himself Sir Jimmy Crystal (Jack O'Connell). The strange cult leader who has long blond hair are, as Boyle and Garland confirmed to Business Insider, dressed like Jimmy Savile, the infamous British TV presenter and prolific sexual abuser.
The film ends as Spike chooses to go with Jimmy. Here's what to know about "The Bone Temple."
The cast of '28 Years Later: The Bone Temple' includes Cillian Murphy, Alfie Williams, Jack O'Connell, and Aaron Taylor-Johnson
The plot for "The Bone Temple" is unknown, but presumably it will explore Jimmy's past after he escaped the Rage Virus following the initial outbreak, as seen in the violent opening scene of "28 Years Later."
His Savile-esque appearance raises an intriguing question: The Rage Virus outbreak started in 2002, meaning Savile's numerous sexual crimes may not have been made public in the film's timeline. In real life, the allegations were made in 2011 onwards, after Savile died.
Garland told BI that the story will examine how misremembering key events can drastically change the world."We are living in a time right now which is absolutely dominated by a misremembered past," he said.
Williams and O'Connell will return for "The Bone Temple" alongside Aaron Taylor-Johnson, who plays Spike's father, Jamie.
Boyle also confirmed to BI that Cillian Murphy will return as Jim, the main character from "28 Days Later."
'28 Years Later: The Bone Temple' is due in 2026
"28 Years Later: The Bone Temple" will be released on January 16, 2026, so there isn't long to wait after that surprising ending.
This is because "28 Years Later" and "The Bone Temple" were filmed back-to-back in summer 2024.
Boyle didn't direct the second film, but he did return as a producer. Nia Da Costa directed the sequel with a script from Garland.
Da Costa has previously helmed movies like "Candyman" and "The Marvels," as well as episodes of "Top Boy" and "Ms. Marvel."
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Los Angeles Times
an hour ago
- Los Angeles Times
Why a boutique video label is taking over L.A.'s theaters, plus the week's best movies
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. Among this week's new releases is '28 Years Later,' the third film in the series that dates back to 2002's '28 Days Later.' The new project reunites the core creative team from the first movie: director Danny Boyle, screenwriter Alex Garland, cinematographer Anthony Dod Mantle and producer Andrew Macdonald. This time out the 'rage' virus that turns people into crazed cannibal monsters has been isolated to the U.K., which has been quarantined from the rest of the world. A small community of uninfected survivors live on a coastal island and make their way to the mainland to hunt and for supplies. A teenage boy (Alfie Williams), having made one expedition with his father (Aaron Taylor-Johnson), goes back with his ailing mother (Jodie Comer) in search of a doctor (Ralph Fiennes) rumored to be able to help them. In her review of the film, Amy Nicholson wrote that it 'has a dull central plot beefed up by unusual ambition, quirky side characters and maniacal editing. It's a kooky spectacle, a movie that aggressively cuts from moments of philosophy to violence, from pathos to comedy. Tonally, it's an ungainly creature. From scene to scene, it lurches like the brain doesn't know what the body is doing. Garland and Boyle don't want the audience to know either, at least not yet.' '28 Years Later' is the first film in a planned trilogy, with the second film, directed by Nia DaCosta, having already been shot. I spoke with Boyle, Garland, Mantle and Macdonald for a feature story that will be in print on Sunday. Whereas the original '28 Days Later' was notable for its use of consumer-grade digital video cameras, this time the production used modified iPhones to capture most of its imagery. The result is a fresh and distinctive look with both a sense of immediacy and an unexpected beauty. 'What was great about the script is that although you were inheriting some DNA from the original film, it was a completely original story,' said Boyle. 'And deserved to be treated like that.' This week the boutique home video label Cinématographe is participating in screenings all over town, further cementing the evolving relationship between physical media and the local revival scene. Curated and produced by Justin LaLiberty as an offshoot of the Vinegar Syndrome label, Cinématographe is among a handful of companies that create releases meant to look as nice on your shelf as they do onscreen. With beautiful restorations presenting the titles as optimally as possible, the releases come with many extras highlighting their production and what makes them special, alongside new critical essays on the films. Among the titles released by the company so far are John Dahl's 'Red Rock West,' Paul Schrader's 'Touch,' Robert Altman's 'Thieves Like Us' and Martha Coolidge's 'Joy of Sex.' 'Cinématographe has a very specific kind of curatorial approach,' said LaLiberty in a Zoom call this week from his home in Connecticut. 'And it also has a mission in that it's trying to shine a light on these movies that have fallen into obscurity for one reason or another.' Working in conjunction with the local screening collective Hollywood Entertainment in pulling together some of the local events, LaLiberty got a sense of the current repertory scene in L.A. and hopes that putting on Cinématographe screenings here is something that can become a regular occurrence. 'What I like about L.A.'s cinema scene, without being there, is seeing how the spaces cater to different audiences,' said LaLiberty. 'It happens in New York to an extent too, but I've noticed it a lot more with L.A. where I think just by virtue of geography, those theaters have to build a community that's a lot more specific to whatever their mission may be or whatever audience they're trying to cultivate is. So that's what I tried to do with these screenings is kind of hone in on what demographic those spaces are going to reach and what film made the most sense for each one.' On Sunday at Brain Dead Studios there will be a restored 4K screening of the exuberant 1983 remake of 'Breathless' with director Jim McBride in person. That will be followed by the Los Angeles premiere of the 4K restoration of Bob Saget's 1998 comedy 'Dirty Work,' starring Norm MacDonald, in its newly created 'Dirtier Cut,' which restores the film to a version screened for test audiences before it was chopped down to earn a PG-13 rating. Co-writer Frank Sebastiano will be in attendance. On Monday, LaLiberty will be at a pop-up at the Highland Park video store Vidéotheque, selling discs from Cinématographe, Vinegar Syndrome and affiliated titles from OCN Distribution — including some that are out of print. (Discs will be on sale at all the events too.) On Tuesday at Whammy Analog Media, 1994's essential lesbian rom-com 'Go Fish' will show in a 4K restoration with director and co-writer Rose Troche in person. On Wednesday, there will be a 45th anniversary screening at Vidiots of the 4K restoration of Ronald F. Maxwell's 1980 'Little Darlings,' starring Tatum O'Neal and Kristy McNichol as two teenage girls having a private competition at summer camp to lose their virginity. On Thursday, in conjunction with Cinematic Void, the Los Feliz 3 will host a showing of John Badham's 1994 action-thriller 'Drop Zone' starring Wesley Snipes, with the director in person. And while it may seem counterintuitive for a home video label to be encouraging people to go see movies in theaters, for LaLiberty the two go hand in hand. 'My ultimate mission is for these films to find an audience,' LaLiberty said. ''Little Darlings' is one of those movies that was out of circulation for so long that now that it's back and people can find it — to me that's the work. The end goal is that these films are brought back and that they're available for people to see and talk about and share. Theaters can play them and have them look great. I don't see it as cannibalizing. I see it as just being a part of the job.' The American Cinematheque is launching a series looking at films from Southeast Asia made around the turn of the 21st century and shot through with the energy of specific Y2K anxieties. These were films that felt cutting-edge and of the moment when they were released, but now perhaps function at least in part as memory pieces of their time and place. This is a sharp, smartly put-together series that contextualizes a group of films and filmmakers. Kicking off with Wong Kar-wai's 1995 'Fallen Angels,' the series also includes Hou Hsiao-hsien's 2001 'Millennium Mambo,' Tsai Ming-liang's 1992 'Rebels of the Neon God,' Fruit Chan's 1997 'Made in Hong Kong,' Shunji Iwai's 2001 'All About Lily Chou-Chou' Jia Zhangke's 2002 'Unknown Pleasures' and Lou Ye's 2000 'Suzhou River.' Writing about 'Fallen Angels' in 1998, Kevin Thomas called it 'an exhilarating rush of a movie, with all manner of go-for-broke visual bravura that expresses perfectly the free spirits of his bold young people. … Indeed, 'Fallen Angels' celebrates youth, individuality and daring in a ruthless environment that is wholly man-made, a literal underworld similar to the workers' realm of 'Metropolis' — only considerably less spacious. Life proceeds at a corrosive rock music beat.' 'Dogtooth' in 4K Greek filmmaker Yorgos Lanthimos' second feature, 'Dogtooth,' was his international breakthrough, winner of the Un Certain Regard section at Cannes and nominated for an Oscar. Yet even its most ardent admirers at the time would likely never have imagined Lanthimos would become the maker of commercially successful, Oscar-winning (and still weird) films such as 'The Favourite' and 'Poor Things.' A new 4K restoration of 'Dogtooth' will screen at the American Cinematheque at the Los Feliz 3 on Saturday, Tuesday and Sunday the 29th. The story feels abstracted and fractured, as a family lives in comfortable isolation, creating their own rules and language as the parents attempt to keep their children, now young adults, in a state of arrested development. When it was first being released, 'Dogtooth' struggled to find screens in Los Angeles. In my January 2011 review, I referred to it as 'part enigma, part allegory and even part sci-fi in its creation of a completely alternate reality.' When the film had its local premiere as part of the Los Angeles Greek Film Festival some seven months earlier, I spoke to Lanthimos, who perhaps pointed the way to some of his future work when he said, 'It's much more important to me for the audience to be engaged and to think about things themselves. If they miss any information, I'm OK with that instead of explaining every little detail and telling everyone what they should be thinking and how exactly things are.' Lanthimos added, 'People ask me if the film is about home-schooling or if it's political, about totalitarian states or the information we get from the media. And of course all those things were not in our minds as we were making the film, but it was intentional to make the film so people can come in and have their own thoughts about it.' 'The Seven Year Itch' 70th anniversary On Wednesday the Laemmle Royal will present a 70th anniversary screening of Billy Wilder's 'The Seven Year Itch' introduced by film writers Stephen Farber and Michael McClellan. Starring Marilyn Monroe and Tom Ewell, 'Itch' was written by Wilder and George Axelrod, an adaptation of the hit Broadway play that also starred Ewell. Though the movie does include the iconic scene of Monroe standing over a subway grate, it deserves to be remembered for much more than that. It's a bracing satire of midcentury masculinity, with Ewell playing a mild-mannered family man who lets himself be taken away by fantasies of what may happen while he is on his own for a summer with a young single woman living upstairs from his New York apartment. Writing about the movie in June 1955, Edwin Schallert said, 'This picture is nothing for the moralists, though it may not quite satisfy the immoralists either, whoever they are.' Tom Cruise, Dolly Parton among honorary Oscar recipients This week the motion picture academy announced four honorees for the Governors Awards in November. Dolly Parton will receive the Jean Hersholt Humanitarian Award, while honorary Oscars will go to actor, dancer, choreographer and director Debbie Allen, production designer Wynn Thomas and actor and producer Tom Cruise. As always, it must be noted how disappointing it is that these awards will be bestowed at an untelevised ceremony and not as part of the Academy Awards telecast itself. The idea of giving an award to Tom Cruise, who has recently refashioned himself as nothing less than an international ambassador for movies and Hollywood in general, and not putting it on TV is just beyond reason. Here is hoping that Cruise will perhaps be able to do what his co-star in 'The Color of Money' Paul Newman once did, which is win a competitive Oscar after already being given an honorary one.
Geek Vibes Nation
an hour ago
- Geek Vibes Nation
'28 Years Later' Review - Grim Sentimentality Meets Gruesome Rite Of Passage
Synopsis: It's been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well. Whether society unscrupulously crawls towards its own demise or technology continues to overtake every facet of daily life, it's important to keep a physical record of our history, traditions, recipes, and way of life. If movies or our current political climate are any indication, cultism and factions are an almost certain outcome. While I don't think any of us wants a hopeless future, the hubris and greed of those in charge, and who harbor most of the wealth, take us down paths that affect us more than them. Stay informed, stay vigilant, stay woke, and stay together. 'The more you kill, the easier it gets.' If left to fend for yourself, do you end up like Jimmy, Spike, or one of the rage-riddled infected? I guess you'll have to watch to find out. From the enigmatic minds of Danny Boyle and Alex Garland, 28 Years Later is grim sentimentality meets gruesome rite of passage. The highly anticipated third installment in the cult film franchise is thought-provoking, mystifying, potent, and the precise jolt the evolution of this universe needs to propel forward. While certain artistic and narrative choices are unusual or bizarre when compared to Days and Weeks , it's clear that a new direction is being taken. As every feature is connected by region and outbreak of the Rage Virus, like its predecessor, 28 Years Later is a standalone sequel. However, unlike its predecessor, this story and its characters will directly connect to its forthcoming sequel. Residing in a rebuilt future within a small, barricaded, makeshift community, those left behind and forgotten from the mainland have found a way to continue as a society. As subliminal flashes of vintage medieval footage permeate various sequences, we are reminded of how far these people have fallen, as the rest of the world outside Britain remains unblemished. Moreover, as we are taken through the secluded isle, the tight-knit population teeters on cult as 'Fail we may, but go we must' dominates a banner. As this tribe attempts to grow and thrive in less-than-ideal conditions, the story unfolds into a family-driven narrative intertwined with topical geo-politics. What begins with a traditional and transcendent adolescent rite of passage to the mainland to get a first kill soon turns into dysfunction, fear, and a coming-of-age journey of sorts. 'Memento mori.' As terror lurks behind every tree, over every hill, and swings a massive meat stick, there's no help in sight. It becomes evident that, like disasters and tragedies that take place outside of our purview, death and suffering persist as the rest of the world looks away or just moves on. While horror and trippiness endure, the focus on humanity rivals the first film. Highlighting the preservation and evolution of rituals, the moments are both beautiful and absurd. Alive with a pulse-pounding score and visceral cinematography, the film loses its footing with a sluggish middle and an abnormal climax. The ending, which sets up the planned sequel, feels like Robert Rodriguez crafted its tone and mood. 'Superman': DC's $225M Gamble To Save The DCU If you're looking for a fast-paced zombie massacre, this is not the movie for you. While it has its fair share of brutal kills and share-worthy moments, this post-apocalyptic allegory is more think piece than fright flick. Before the franchise's potentially exciting future is entertained, there is definitely plenty to unpack as it ponders and postulates life, death, and love. Its rewatchability is medium. Jamie (Aaron Taylor-Johnson) and his son Spike (Alfie Williams) in Columbia Pictures' 28 YEARS LATER. © 2024 CTMG, Inc. All Rights Reserved. Pace & Pop Contrary to what the poster or trailer may have led you to perceive, the film is much more of a slow burn than expected. While the first act delivers both shock and surprise, as the journey delves into its humanity, it slows to an exploratory creep. However, the threat of infection or violent death remains immediate. What popped for me was the creative chances Boyle took. The fever-dream flair, paired with the moments that would stimulate the inebriated, adds a clever splash of artistic panic to an already dire situation. Spike (Alfie Williams), Isla (Jodie Comer) and Dr. Kelson (Ralph Fiennes) in Columbia Pictures' 28 YEARS LATER. © 2025 CTMG, Inc. All Rights Reserved. Characters & Chemistry Starring: Jodie Comer, Aaron Taylor-Johnson, Jack O'Connell, Alfie Williams and Ralph Fiennes Anchored by strong emotional outings by some of the biggest names, young Alfie Williams delivers a standout performance. While Jodie Comer's Isla represents love and comfort, and Aaron Taylor-Johnson's Jamie depicts strength and deceit, Williams' Spike displays independence, courage, and bravery. Dr. Kelson, portrayed by Ralph Fiennes, is the voice of reason, calm, and connection to the past. Jack O'Connell gives a glimpse of the future as Jimmy. And lastly, we all get really familiar with Chi Lewis-Parry as Samson. 28 Years Later gets unleashed in theaters on June 20, 2025. Stay safe and look out for Samson's alpha. Rated: R Runtime: 1h 55m Director: Danny Boyle Writer: Alex Garland Producers: Andrew Macdonald, Peter Rice, Bernard Bellew, Danny Boyle, Alex Garland Executive Producer: Cillian Murphy Director of photography: Anthony Dod Mantle ASC, BSC, DFF Editor: Jon Harris Production & Costume Designers: Gareth Pugh and Carson McColl Score: Young Fathers Casting: Gail Stevens CDG and Rebecca Farhall
Forbes
2 hours ago
- Forbes
What Format Should You Choose For The Movie ‘28 Years Later'?
To promote the movie, Sony has been projecting the Rage logo onto several locations around the UK, ... More including Gibside in Gateshead, Tyne and Wear, which was the ruined hall used in the film. And also, not far from the local Dolby Cinema, where you can watch the film. How perfect. 28 Years Later, starring Jodie Comer, Aaron Taylor-Johnson, and Ralph Fiennes, is the new post-apocalyptic infection sequel to Danny Boyle's 2002 film 28 Days Later. An Iconic Original The original was iconic for several reasons, but primarily because it was credited with revitalizing the Zombie genre. While it wasn't the first film to do it, it's scary fast-moving 'Rage'-filled infected zombies were very different from the traditional slow, lumbering creatures that most people knew from the movies. Secondly, it's iconic scenes of a deserted, abandoned central London were astonishing when first released, though, proving that truth is often stranger than fiction, during the Covid lockdowns, the same sights were eerily recreated in real life. To capture these scenes, Danny Boyle used the guerrilla-filming technique of shooting in the very early hours of the morning, which was helped by the third innovation on this film – it being one of the very first to use digital cameras. As they were so light and could be set up quickly, it meant the shots could be set up quickly to make the best use of time before the traffic arrived. Another reason that the digital camera used was that Boyle wanted to use the consumer-level Canon XL-1 MiniDV cameras to provide a raw, gritty, and handheld look, as if the film was documented rather than stylistic. On a recent rewatch, however, I had forgotten this and had to pause the film, as I wondered why it looked, to use a phrase made popular by social media, as if it was filmed on a potato. After reminding myself of the reason for the incredibly low-resolution images, I carried on with the movie. In a similar vein, the sequel, 28 Years Later, is also filmed on contemporary digital cameras; in this case, an iPhone 15 Pro. However, as documented in detail here, an array of additional equipment was used to ensure the captured images are cinema-grade quality, which, considering the poor image quality of the original, is welcome news. Which Format Should You Choose? With all that, let's have a look at the various formats you can choose for 28 Years Later. The choices are made simpler by dint of the fact that there is no IMAX release. With a slate of more IMAX-friendly movies there, with How To Train Your Dragon currently occupying the space, and F1: The Movie, about to take it over, there was likely no chance it was going to be released in that format. HDR by Barco This, then, makes the HDR by Barco format at the top of the tree for image quality for 28 Years Later. Again, considering the very low bar of the original is somewhat ironic, as the iPhone sensor is capable of 4K resolution, and the various lenses that have been applied to the iPhone should ensure that we get the most out of it. It is normally accompanied by Dolby Atmos audio as well, so it should be an excellent way of experiencing the movie. However, Barco's HDR format is only available in a handful of US theaters, but, as per its recent announcement, 25 more are on their way by the end of the year. Dolby Cinema Should you not be near only one of those five theaters, which is quite likely, the next premium format to choose is Dolby Cinema. This offers an extended dynamic range, high-brightness pictures, Dolby Atmos audio, and a specially customized layout and seating for an optimal view. This makes it the highest-quality format that currently has wide availability, with around 150 in the USA (and set to extend to 200 by 2027). In the UK, there are now seven Dolby Cinemas (with Liverpool and Newcastle as recent additions). If there are no Dolby Cinemas you can get to, then look to regular premium larger formats, which offer a large screen, usually floor to ceiling, 4K laser projection, so high-brightness and clear, and, again, Dolby Atmos audio. Look for Prime at AMC, Regal RPX, Cineplex UltraAVX, and Cinemark XD, and in the UK, Cineworld Superscreen, Odeon iSense, or OmniplexMAXX. 4DX The only other specialty format is 4DX, which involves moving seats that punch you in the back, so you feel every impact, and smoke, air, water, and flashes of light. Yes, it's theme park meets cinema, and, for the right movie, it's hilarious fun. I've now had more hits than misses with 4DX, so I'm a fan, but sadly, the focus on more on the shenanigans rather than image quality, so the screen tends to be smaller than the premium formats and the audio is just standard surround. That said, I could see it working for 28 Years Later. Standard Digital Finally, there's a regular digital screen, which may or may not be any good. If they have an ageing lamp-based Xenon projector, you'll get a dim picture—so get to know your local cinema, and if it isn't good enough, vote with your feet and go elsewhere.
