28 Years Later's Trailer Shows A Terrifyingly Weird World Most Zombie Movies Don't
It's probably fair to say that zombie movies and TV shows have something of a pattern. There's an outbreak, we cut to years later when only a few survive, then follow a small band of survivors who get stuck on the roof of a mall. I think that's about 90 percent of them. Which is why the complete weirdness featured in the latest trailer for 28 Years Later is so incredibly welcome.
One of the greatest TV shows ever made was Damon Lindelof's 2014 series The Leftovers. Where many shows have previously covered the territory of large numbers of people mysteriously vanishing, In The Leftovers, two percent of the Earth's population inexplicably vanished in a single moment. The program was set two years later, focusing on a small New York community, exploring the repercussions of this event. And it was weird. It was rooted in the unknown, in the lack of an explanation, and the consequences on society, whether it was the formation of deeply peculiar cults, or the personal trauma of losing loved ones. But also, other stuff: dogs were turning feral, deer became less timid, and there was this one waterfall...
I bring this up because it's that same vibe of humanity's spiraling into strangeness that seems most key to this new footage from 28 Years Later. Rather than exploring the horror of the immediate zombie apocalypse, here director Danny Boyle seems to be using the three-decades-on approach to envisage a society that's known little else, and the bizarre, uncomfortable, and spiritual effects this has had on people. Plus, you know, people running away from brain-hungry undeads.
The movie is out on June 20, so there's still a fair amount of waiting to do. But this is looking like it could be something very interesting.
.
For the latest news, Facebook, Twitter and Instagram.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Gizmodo
13 hours ago
- Gizmodo
The ‘Spider-Man: Brand New Day' Villain Rumors Keep Getting Wilder
Sydney Chandler teases a bit more about her mysterious Alien: Earth character. Get your first look at the next Anne Rice adaptation, Talamasca. Plus, Rick & Morty dives back into the clone bucket again. To me, my spoilers! Spider-Man: Brand New Day Regular leak-purveyor MyTimetoShine alleges that Nicole Kidman is being eyes to play the undisclosed primary villain of Brand New Day. Nicole Kidman (Australia) is being eyed to play the female villain in Spider-Man: Brand New Day — MyTimeToShineHello (@MyTimeToShineH) May 28, 2025 Superman Meanwhile, a new report from World of Reel claims that James Gunn's Superman received 'mixed reception' from a test screen audience, leading to 'a slight reworking of its story structure,' the addition of a 'second composer' to 'reshape the score' and the removal of 'several comedic beats' the 'execs weren't entirely sold on.' Good People, Bad Things Deadline reports Issa Rae is attached to star in Good People, Bad Things, another genre-bending 'comedic thriller' from Get Duked! director, Ninian Doff. The story concerns 'an overwhelmed woman (Rae) who gets lost in a seemingly infinite parking garage and soon discovers she is not alone.' Five Nights at Freddy's 2 Bloody-Disgusting has a new poster for Five Nights at Freddy's 2. Found Footage: The Making of the Patterson Project A documentary film crew's attempt to recreate the Patterson-Gimlin footage summons the real Bigfoot in the trailer for Found Footage: The Making of the Patterson Project. Sketch Elsewhere, a ten-year old girl's drawings come to life and terrorize her neighborhood in the trailer for Sketch, starring Tony Hale, D'Arcy Carden, Kue Lawrence, Kalon Cox, Jaxen Kenner, Genesis Rose Brown, and Bianca Belle. Daredevil: Born Again New set photos from Reddit confirm the late Hector Ayala's niece, Angelo del Toro, does indeed take up the mantle of White Tiger in the second season of Daredevil: Born Again. Click through to have a look. Alien: Earth During a recent interview with TV Line, Sydney Chandler described her character, Wendy, as a 'one of a kind…mash-up of human consciousness and future technology.' Talamasca Bloody-Disgusting has five new images from AMC's upcoming Talamasca series starring Celine Buckens, Jason Schwartzman, Elizabeth McGovern, William Fichtner and Maisie Richardson-Sellers. Rick and Morty Finally, Rick and Morty find a settlement of Morty of clones (plus one Rick) in a clip from next week's episode.
Los Angeles Times
17 hours ago
- Los Angeles Times
How Questlove uncovered those culture-shifting moments in his ‘SNL' music doc
Like the DJ he is, Ahmir 'Questlove' Thompson is highly adept at keeping a lot of things spinning. Before the pandemic, he juggled '14 to 16 jobs,' most notably as the drummer and focal performer for the Roots, the house band for 'The Tonight Show Starring Jimmy Fallon.' But since then, Thompson says he's stopped using 'work, and overworking, as an excuse not to do the life work.' He discovered he likes naps and going to the movies with his girlfriend. And trimming his résumé. 'Now I'm sitting at six [jobs]. My goal is by the end of this year … that I get down to four.' One of those will continue to be as an Oscar-winning filmmaker, thanks to his 2021 documentary debut, 'Summer of Soul.' The prolific artist already dropped two new docs this year. 'Ladies & Gentlemen … 50 Years of SNL Music' is a compendium of culture-shaking highlights and behind-the-scenes revelations from 'Saturday Night Live,' while 'Sly Lives! (aka the Burden of Black Genius)' explores funk pioneer Sly Stone's 1970s descent from the top of the charts into a druggy twilight zone, and its broader cultural implications. Thompson is checking in over Zoom from a Los Angeles hotel room, visiting the city during a short 'Tonight Show' hiatus to spend some time with Stevie Wonder as he works on his next feature project, about 1970s R&B supergroup Earth, Wind & Fire. As he explains it, he's obsessed with the idea of 'penultimates,' the moment right before an artist's breakthrough. It was the key that helped Thompson resolve the task of compressing a half-century of archival 'SNL' footage into a two-hour history that's a lot more than a greatest-hits reel. 'Each story that's told starts with an obstacle … and kind of either getting over a fear of failure or [artists] getting over themselves, and then taking a step forward, doing it, only to realize that that's going to be a paradigm shift, game-changing moment,' he says. 'I can't imagine Eddie Murphy saying, 'No way I'm going to do James Brown, I'll look like a fool.' Or Jimmy Fallon being afraid to knock on Mick Jagger's door. Or, the reluctance of having John Belushi invite these people called slam dancers to a gig. Should we have Rage Against the Machine with Steve Forbes together? Like every story has a connecting resistance or fear. Hopefully, that's what I want people to learn.' Thompson and fellow director Oz Rodriguez miraculously touch on dozens of the music-related moments — not just the celebrated (and controversial) live performances that became pivotal for everything from hip-hop to punk but sketches, guest appearances by stars and the cast's own formidable inventions like the Blues Brothers — while mining anecdotal gold from the NBC archives and interviews. The film leads off with a nod to 'SNL's' signature cold open with a seven-minute blowout of clips that mashes up artists in surprising juxtapositions, most sensationally a sequence that features Queen, Vanilla Ice, the Dave Matthews Band, Fine Young Cannibals and Michael Bolton. 'I wish the world could see our 'CSI' outline — literally, like a yarn — trying to figure it out,' Thompson says. 'For me, the rule of DJing is knowing five songs that go perfectly with the song you're playing right now.' The montage took 10 months to create and one more, according to the filmmaker, to convince 14 holdouts to be part of it. 'I had to physically go, iPhone in hand, and be like, 'Come on, you don't want to get left out of history now, do you?'' Thompson's fascination with Sly Stone began as a 2-year-old. 'I'm probably the one person who didn't salivate over the arrival of 'There's a Riot Goin' on,'' he says, referencing the 1971 bummer classic. 'I'm almost certain it's because 'Riot' was possibly my first memory in life.' It's a very traumatic one. He was getting a shampoo from his mother and sister when a container of bathroom cleanser spilled and some of it got into his eyes. 'I'm in screaming pain. Four people are trying to 'Clockwork Orange' my eyes out, and 'Just Like a Baby' by Sly and the Family Stone was playing in the background. Why is this the second song on that album? I'll never get it, like, it's just the scariest, most mournful haunting sound ever.' Thompson made the documentary to explore those feelings and solve a riddle that the music posed. 'Soul music is releasing a demon that turns into a beautiful, cathartic exercise,' he says. 'We never just see it as 'I'm watching someone go through therapy.'' The process led to a personal revelation. 'My mom joked that, 'You say you're making this for Lauryn [Hill], and D'Angelo, and Frank Ocean and Kanye and whoever right now is sort of the modern version of Sly. You made that for you.' And when I thought about it, I was like, 'You're right.' 'Only time will tell,' he says 'if I had to make the Sly story to save my own life.'
The Verge
17 hours ago
- The Verge
28 Years Later honors digital heritage with a 20-camera iPhone rig
Upcoming horror threequel 28 Years Later is far from the first Hollywood movie to be shot with the help of an iPhone, but it might just be the first shot on 20 iPhones. That's how many phones director Danny Boyle had mounted on a special rig for select shots in the movie, which releases June 20th. For Boyle, shooting on iPhones is more than just a gimmick. He returns to the series after directing the 2002 original 28 Days Later, which was shot on a digital video camcorder, a meta nod to the fact that this was how home videos were shot at the time. He and returning cinematographer Anthony Dod Mantle took that as an 'influence' in choosing to shoot partially on a phone, the camcorder's closest modern equivalent. It was first reported last year that Boyle had shot 28 Years Later on an iPhone 15 Pro Max, but according to IGN the movie actually uses a mix of regular cameras, drones, and iPhones, including three special rigs designed to hold eight, 10, or 20 iPhones at once. 'There is an incredible shot in the second half [of the film] where we use the 20-rig camera, and you'll know it when you see it,' Boyle told IGN. 'It's quite graphic but it's a wonderful shot that uses that technique, and in a startling way that kind of kicks you into a new world rather than thinking you've seen it before.' Boyle calls the 20-phone rig 'basically a poor man's bullet time,' explaining that it allowed the crew to shoot some of the film's more violent scenes in new ways. 'It gives you 180 degrees of vision of an action, and in the editing you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backward for emphasis.' It's not the film's only unusual cinematographic choice. It was also shot in an especially wide 2.76:1 aspect ratio, the equivalent of 70mm film, to keep viewers guessing about where the film's infected could pop up: 'If you're on a widescreen format, they could be anywhere… you have to keep scanning, looking around for them.'
