How to watch England vs India: TV channel and live stream for first Test today
28 Years Later plot and ending explained — and will there be another film?
28 Years Later plot and ending explained — will there be another film?
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
29 minutes ago
- Yahoo
International Insider: '28 Years Later' Arrives; Landmark Netflix-TF1 Deal; NHK At 100
Another week down, Insiders, and it was a hot one in Europe. We had journalists in France and Spain (at two separate events) to gather up the top stories from the continent, while in the UK, the zombies returned, angrier and scabbier than ever. Sign up to the newsletter here. '28 Years Later', A Threequel Arrives More from Deadline BBC Hits AI Startup Perplexity With Legal Threat Over Content Scraping Concerns BBC's BAFTA-Winning Doc Series 'Once Upon A Time In...' Turns Eye To Middle East Danny Boyle Says He Would Never Make Oscar-Winner 'Slumdog Millionaire' Now Amid "Cultural Appropriation" Concerns Worth the wait: To me, it feels like just yesterday watching Cillian Murphy wander around empty London streets in hospital scrubs in 28 Days Later. It wasn't though – it was 23 years ago and I'm just showing my age. No doubt, however, that the love for Danny Boyle's zombie horror franchise has lasted all that time, as proven by the noise around the premiere of the third instalment, and the first since 2007's 28 Weeks Later. 28 Years Later had become the second-most watched horror trailer in history well before Boyle, writer Alex Garland and producer Andrew Macdonald debuted it in this week in London at a world premiere in Leicester Square – and all the signs are that it's cutting through. Our social media guru Nada and Breaking Baz were on the red carpet to hear from the likes of Boyle, Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes, along with Chairman and CEO of Sony Pictures Entertainment's Motion Picture Group, Tom Rothman, who tipped us that the film will make a star of 14-year-old lead Alfie Williams. The story is set nearly three decades after the rage virus escaped a biological weapons laboratory and brought down society, in a film that our critic Damon Wise called a 'particularly scathing' commentary about 'Brexit Britain and its little-islander mentality.' Reviews have been pretty good, with some criticisms about the tone, pacing and ending, and its Fresh score on Rotten Tomatoes currently sits at 92%. You can go ever deeper by listening to Anthony D'Alessandro catch up with Boyle on our Crew Call podcast, where they discuss the long journey getting the film to screen and why the Slumdog Millionaire director won't be directing all three of the planned modern-day 28 trilogy. Anthony also noted Thursday in his box office round-up that 28 Years Later is tracking for a global start of around $56M. Netflix The Aggregator 'A new kind of partnership': Big platform news this week came out of Cannes Lions, where Netflix and French commercial network TF1 announced a potentially market-altering partnership. In part borne out of the friendship between TF1 CEO Rodolphe Belmer and Netflix's top brass, the companies unveiled a 'new kind of partnership' that sees five linear TF1 channels and 30,000 hours of on-demand content streaming on Netflix. To this point, Netflix has shown little interest in aggregating linear services – or any rival services, for that matter – but analysts have pointed out that the Netflix-TF1 relationship is a special case that has already seen them create Netflix's first daily soap in France. However, there's a sense this is the start of something bigger, as our analysis of the development showed. Truth is, global streamers need to attract older, linear-minded viewers and traditional players need the leverage and access to younger viewers of streaming services. 'Diagonal integration and co-operation' is what the big brains over at Ampere Analysis are calling it. You heard it here first. NHK At 100 Earthquakes and giant squid: Japan's NHK turned 100 this year and there has never been a better time to celebrate the role of public broadcasting. Good thing, then, that we landed an exclusive interview with President Nobuo Inaba, who detailed how the challenges facing pubcasters today may differ from a century ago, but the battles remain the same. In the 1920s, it was the Great Kantō earthquake that compelled the need for a public broadcaster, while today it has become the flood of disinformation driven by social media from which the public needs saving. Only public broadcasters can battle through the noise, Inaba argued, as he called for greater global collaboration and more shows for young people. Of course, public broadcasters enjoy nothing more than a celebration and a 100th birthday lends quite the excuse. In NHK's case, a series of special programmes have been airing through the year, including a documentary titled Neo-Japonism and anime adaptation Cocoon. Pressed on his favorite NHK show of the century, Inaba went a bit curveball by opting not for critically-acclaimed drama or doc, but for a natural history series made with Discovery, which captured the world's first video images of a giant squid. Dive deeper. Big Week For BBC Phillips gets Moore responsibilities: The race to succeed Charlotte Moore at the BBC has ended – and the biggest job in British TV commissioning is staying in-house. A month after Deadline had revealed acting Chief Creative Officer Kate Phillips was the frontrunner, the BBC rubber-stamped the appointment, and into a new era we go. She called the job 'one of the best roles in the business at an incredible organisation,' and it's clear she's got a vision of where she wants to take the UK's biggest public broadcaster. With a background in unscripted, those in drama and comedy are understandably watching closely, but it's worth noting they did the same when the Left Bank Pictures-bound Moore became Director of Content in 2016, thanks to her past in documentary. Fair to say her tenure went more than okay. That's one big headache for BBC Director General Tim Davie fixed, but there's migraine of a problem over at BBC News, where a PwC consultant has been drafted in to steer an internal review into bullying and misconduct allegations on flagship show Breakfast, which Jake first revealed in this shocking report in April. Out of the frying pan, into the fire. From CineEurope To Cuenca's Conecta Slate of play: The U.S. studios had their game faces on and film slates at the ready at CineEurope in Barcelona, Spain, this week. The annual event drew its regular industry crowd, and Nancy Tartaglione was on the ground gathering up the biggest and best of the news. Lionsgate returned after sitting 2024 out, sprinkling some magic dust in the form of Now You See Me: Now You Don't and confirming Nancy and Matt Grobar's scoop that Glenn Close and Billy Porter have joined the cast of The Hunger Games: Sunrise on the Reaping. The studio was followed by Sony showing the first 28 minutes of 28 Years Later, Universal touting new Spielberg and Nolan projects, Warner Bros playing 30 minutes of July tentpole Superman, Paramount confirming Meet the Parents 4 and Disney teasing Toy Story 5 during a presentation that culminated in a James Cameron tribute to Jon Landau. Following the fun, Nancy and Anthony revealed the global box office is red hot, with Gower Street predicting a $12.4B summer. Over 300 miles away from Barcelona in the quiet city of Cuenca, I touched down for Conecta Fiction & Entertainment, the annual Spanish TV industry get-together. Nothing quite as splashy there, but reps from Max and Lupin maker Gaumont Television France gave their views on some live issues, as boiling hot temperatures gave way to biblical floods in the mountainous locale. Read the news from Cuenca here. The Essentials 🌶️ Hot One: The BBC has greenlit Twenty Twenty Six, a successor to comedy series W1A and Twenty Twelve, with Hugh Bonneville reprising his role and Chelsey Crisp, Paulo Costanzo and Stephen Kunken among a blended UK-U.S. cast. 🌶️ Another One: Martin Compston and Aimée-Ffion Edwards are leading the cast of The Revenge Club (w/t), which has Paramount+ UK and Ireland, Gaumont UK and Fremantle attached. ☘️ One for luck: Webtoon manwah Teenage Mercenary is being adapted as a TV anime series by Japan's Line Digital Frontier. ⛑️ Saved: Ireland's Playhouse Studios has acquired the assets of UK post house Lipsync, which went into administration last month. Most staff have been retained. 🔭 In focus: Filming Italy Sardegna, the annual Sardinian TV fest that kicked off yesterday. Diana also spoke to festivals specialist Tiziana Rocca in this interview. 👨🏻⚕️ Doctor, doctor: Russell T Davies has poured more fuel on the fire over the future of his BBC and Disney+ sci-fi series Doctor Who, saying, 'We don't know what's happening yet.' 5️⃣0️⃣ Fiddy: Curtis '50 Cent' Jackson has taken his 50 Cent Action Channel overseas for the first time. 🦁 Heart of a Lions: Reese Witherspoon's Hello Sunshine launched a Gen Z label, Sunnie, at Cannes Lions. 🤝 New roles: Lookout Point co-CEOs Laura Lankester and Will Johnston hopped over to A24's UK team. 🏆 Winners: Swedish drama Vanguard, Germany's One Day in September and CW series Good Cop/Bad Cop took home Golden Nymphs from the Monte-Carlo TV Festival. Jesse Whittock wrote this week's Insider. It was edited by Jake Kanter. Best of Deadline 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series 'Stick' Release Guide: When Do New Episodes Come Out?
Irish Examiner
40 minutes ago
- Irish Examiner
Film Review: 28 Years Later is ambitious — and blackly comic
And so to the cinema, there to take refuge from all the rage swirling about the world, where we discover – courtesy of 28 Years Later (16s) – that a rage virus has infected most of the UK's population, turning them into rampaging zombies who feast on human flesh. Happily, a self-sufficient community has kept itself safe on an island for the three decades or so since the virus first erupted in 28 Days Later (2002). On a rites-of-passage trip to the mainland, however, 12-year-old Spike (Alfie Williams) and his father Jamie (Aaron Taylor-Johnson) make a terrifying discovery: the zombies have made an evolutionary leap, and soon father and son are fleeing for their lives from an apparently indestructible Alpha. Alex Garland and Danny Boyle reunite as writer and director, respectively, for a gripping zombie flick that seeks to expand the parameters of the genre. Occasionally self-indulgent – there's an insistence on equating the survivors with the heroes of WWI, for example, or the doughty yeomen of Shakespeare's Henry V; the percussive soundtrack, meanwhile, is frequently intrusive to the point of irritation – the film is endearingly rooted in the most prosaic of vital concerns: there might be a plague of ravenous zombies roaming the mainland's rewilded forests, but Spike will stop at nothing to get medical help for his ailing mother Isla (Jodie Comer). The storytelling is erratic at times, such as when a Swedish commando, Erik (Edvin Ryding) pops up to save Spike and Isla from certain doom, but it's also gloriously cinematic when the deranged hermit Dr Kelson (Ralph Fiennes) emerges from the wilderness like a mellow Colonel Kurtz. All told, it's a sprawling, ambitious and blackly comic take on the zombie genre, and one likely to make a star of young Alfie Williams. Disney/Pixar's Elio Elio ★★★★☆ Theatrical release Elio (G) opens with the space-obsessed, friendless Elio (voiced by Yonas Kibreab) desperate to be abducted by aliens. So it's joy unconfined when Elio finds himself beamed up to the Communiverse, where all the intelligent life of the universe convenes. There are just two small issues: one, the other aliens believe Elio to be the leader of all Earthlings; two, the warlord Lord Grigon (Brad Garrett), rejected by the Communiverse on the grounds of excessive aggression, has declared his intention to bring the rest of the universe to heel. Can Elio and his new pal Glordon (Remy Edgerly) save the Communiverse? Directed by Adrian Molina, Madeleine Sharafian and Domee Shi, this latest offering from Pixar delivers a charming sci-fi yarn that promotes a timely message of plurality and inclusivity in the face of an authoritarian threat. Vividly delivered as the Pixar creatives cut loose on all manner of alien possibilities, the story also gives us an unusually vulnerable, self-doubting hero: Elio is a likeably ebullient character who is comically unaware of his very many failings as a space-faring hero, which only adds to the poignancy of his quest. Renowned Swedish TV-duo Filip and Fredrik embark on a trip to France, aiming to rekindle the zest for life of Filip's father in The Last Journey The Last Journey ★★★★☆ Theatrical release Concerned that his 80-year-old father Lars, a retired teacher, has resigned himself to 'rotting into his armchair,' Swedish filmmaker Filip Hammar decides to take Lars on a road-trip – The Last Journey (PG) – from Sweden to the South of France, where the Hammar family spent many idyllic summer holidays. Slightly bewildered and more than a little depressed, Lars reluctantly agrees, and so the pair, with Filip's filmmaker colleague Fredrik Wikingsson along for the ride, take to the road in a battered orange Renault 4 (aka 'Europe's most overtaken car'). What follows is a touching account of Lars' gradual revitalisation, even if the process is not without its perils, physical and emotional, and especially because Filip, determined to force his father's recovery, can occasionally ride roughshod over his father's fears that he is being pushed too far. Overall, though, the film is a bittersweet, heart-warming affair; you would be well advised to have some tissues handy for the concluding scenes.
BreakingNews.ie
an hour ago
- BreakingNews.ie
28 Years Later review: Another relentless apocalyptic horror from Danny Boyle
Danny Boyle and Alex Garland have produced another horror masterpiece with 28 Years Later , the third instalment in the '28 Days' universe. The director and writer were not heavily involved in the followup, '28 Weeks Later', but they make a triumphant return in the new film. It is partly shot on iPhones, something introduced by Boyle with 28 Days later, and this contributes to the frantic and anxiety-inducing pace of the film as our new protagonisted go up against the infected. Advertisement This includes new additions to the creatures that were produced about the rage virus, including the terrifying 'alphas' who are able to effortlessly rip people's heads off. While the film is full of the action we saw in its two predecessors, Boyle and Garland manage to include a commentary on British society. With the rest of the world operating as normal as the 21st century rages on, Britain is quarantined to keep the infected from reaching the rest of the world, with navies patrolling its waters. In a remote island, survivors life a primitive but peaceful and safe existence, accessible to the foreboding 'mainland' only by a causeway only accessible when the tide recedes. Advertisement With Britain stuck in the past, it's hard to avoid the intended Brexit parable. This is only accentuated by Boyle's use of black and white World War footage, and a haunting score which includes 1903 poem " Boots " by Rudyard Kipling , recited by American actor Taylor Holmes. Jamie (Aaron Taylor-Johnson) brings his 12-year-old son Spike (Alfie Williams) to the mainland to get his first kills in an almost ritualistic expedition, against the advice of the communiy's elders who warn that Spike is far too young. Ralph Fiennes in 28 Years Later. The horrors they encounter leave a mark on father and son, but Spike is determined to return to seek a cure for his seriously ill mother Islan ( Jodie Comer ). This is where we once again enconter Dr Ian Kelson (Ralph Fiennes). A key character in the first film, Dr Kelson steals the show once again. His descent into madness, looking like Colonel Kurtz in Apocalypse now, isn't quite what it seems, despite the temple of skulls he has amassed. The ending sets things up nicely for 28 Years Later: The Bone Temple, which is due for release in January 2026.
