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Jodie Comer puts on a showstopping display in a metallic silver gown as she joins co-star Aaron Taylor-Johnson at the premiere of Danny Boyle's long-awaited sequel 28 Years Later

Jodie Comer puts on a showstopping display in a metallic silver gown as she joins co-star Aaron Taylor-Johnson at the premiere of Danny Boyle's long-awaited sequel 28 Years Later

Daily Mail​6 hours ago

Jodie Comer put on a showstopping display in a metallic silver gown as she attended the glitzy premiere of 28 Years Later on Wednesday.
The actress, 32, slipped into the eye-catching dress as she graced the red carpet at London's Odeon Luxe Leicester Square with co-star Aaron Taylor-Johnson.
Jodie arrived for the premiere in her form-fitting silver dress as she celebrated the release of Danny Boyle's long-awaited sequel for his 2002 film 28 Days Later.
The Killing Eve star was in high spirits as she spoke to co-star Aaron, who opted for a sharp all-black look.
The Marvel star was joined at the premiere by his wife Sam, 58, who cut a chic figure in a white midi dress.
The two leading stars were also joined on the red carpet by Alfie Williams, who plays their son in the film, with the Newcastle-born star opting for a sharp red and black paisley suit.
The actress slipped into the eye-catching dress as she graced the red carpet at London's Odeon Luxe Leicester Square
The release of 28 Years Later has been long-awaited, with fans left waiting two decades to discover the next instalment in the film series.
And with the nation devastated by the Rage virus nearly three decades ago, this new film - released June 19 - will show insight into the vastly different ways humanity has adapted to survive.
For one such community, this means complete isolation from the outside world, and in a new clip ahead of the film's premiere, star Aaron shares insight into this new addition to the 28 Days Later universe for the first time.
In this new land, known as The Holy Island, humans are entirely self-sufficient, and only leave the community to hunt on the mainland, when the tide is low.
Aaron plays Jamie a scavenger who is tasked with training his Spike to survive in the wilderness, before they embark on a deadly mission to the mainland.
Meanwhile Jodie plays Jamie's wife Isla, a woman who is suffering from memory loss.
Jodie recently admitted she was 'scared' while filming new zombie thriller 28 Years Later.
And while the flick is intended to petrify movie fans, Jodie has told how despite starring in the film, she was left startled herself as she insisted that one 'can't fake' the emotions she exhibited on screen.
Speaking in a featurette ahead of the film's release later this month, Jodie explained: 'Being on a Danny Boyle set, I found it to be the most amazing experience.
'The relationship that the camera seemed to be having with the characters and the story and seeing how that comes to life.
'I was quite taken aback because I felt like I'd spent a lot of time outdoors in the beautiful locations and then all of a sudden, I'm being chased.
'I was scared - there is a kind of tension within it, you can't fake it. When you're in these high intensity situations, it's exhilarating, it's thrilling, it's terrifying.'
She went on to add of the film's director: 'I think what Danny brings to this genre is humanity and emotion.'
It comes as Danny dropped a huge revelation about Cillian Murphy's fate in the movie.
The original film 28 Days Later starred Cillian, 49, as a bicycle courier who wakes up from a coma to discover the accidental release of a highly contagious, aggression-inducing virus that has caused the breakdown of society.
But despite frenzied speculation that he would be reprising his role in this sequel, when the trailer came out in December, one character appeared to resemble a zombified form of Cillian's character Jim from the first film.
However, this theory was quickly shut down when a London art dealer and model revealed he was the one playing the zombie character.
But now Danny has confirmed that Cillian will make an appearance in the second and third films of the new trilogy. He is also serving as executive producer.
Speaking about Cillian's role in the new post-apocalypse thriller, Danny told IGN: 'He is in the second one', adding: 'I shouldn't give away too much – I'll get killed.'
He went on to say: 'We haven't got the money for the third one yet. It will depend how the first one does, I guess.
'But hopefully if we do OK, they'll give us the go-ahead for the money and for the third one. Everybody's standing by for that, really, including Cillian.'

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EXCLUSIVE The poignant reason Brooklyn Beckham has decided to set up home in LA with wife Nicola Peltz is revealed as couple's £11m Hollywood mansion exposes new twist in family feud
EXCLUSIVE The poignant reason Brooklyn Beckham has decided to set up home in LA with wife Nicola Peltz is revealed as couple's £11m Hollywood mansion exposes new twist in family feud

Daily Mail​

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  • Daily Mail​

EXCLUSIVE The poignant reason Brooklyn Beckham has decided to set up home in LA with wife Nicola Peltz is revealed as couple's £11m Hollywood mansion exposes new twist in family feud

The poignant reason behind Brooklyn Beckham 's decision to give up his life in London to set up home in LA has been revealed, after his new £11 million mansion exposed a shocking new twist in the family feud. The chef, 26, and his wife Nicola Peltz have been in the midst of an escalating feud with his parents after the couple were absent from all of the former footballer's 50th birthday celebrations. Sources previously claimed that Brooklyn has severed any ties to the UK by splashing out £11 million on a new home with Nicola in LA, sparking concerns it could deepen his feud with his parents. However, an insider has told MailOnline that the decision has 'nothing to do with family dynamics,' with Brooklyn simply more at-home in LA after spending much of his childhood living in the US. A source shared: 'This house has nothing to do with family dynamics. David and Victoria also own property in the US, this is no different. 'Both Nicola and Brooklyn's careers are based in Los Angeles, and Brooklyn spent part of his childhood there while his father played for LA Galaxy. 'During that time, he attended school in LA for several years and built a life and friendships in the city. LA has always felt like home to him.' These revelations came as it's reported that the financial aspect of Brooklyn's new home that has sparked some tensions between his parents, and Nicola's father, billionaire Nelson Peltz. The Sun are reporting that Brooklyn does not entirely own the five-bedroom mansion, with a majority of the property owned by Nicola. Sources are now claiming that David and Victoria now feel their son is 'trapped,' especially after he signed an iron-clad prenup before he and Nicola married in 2022. However, the Peltzs have accused the Beckhams of being 'tight' and failing to support their son. It's thought that Brooklyn and Nicola's new home was largely paid for using her trust fund money, but as the creator of the fund, Nelson had to sign off releasing the funds, and the couple also contributed work savings when buying the property. Referencing David and Victoria, a source said: 'When it came to buying this house, of course they weren't just going to hand their son millions of pounds — what sort of message does that send? 'Nelson Peltz, on the other hand, is a billionaire investor and he and his wife Claudia regard Nicola, their little girl, as the apple of their eye. 'Understandably, they want to indulge her and ensure she never struggles — they expected the Beckhams, worth half a billion themselves, might match them penny for penny. Or, at least, chip in with financials as and when. 'That hasn't always happened, so they are annoyed and telling people it's a bit tight, which would utterly enrage David and Vic if they knew.' A source close to David and Victoria has disputed this, branding it 'nonsense.' And another close to Brooklyn has also hit back at claims by his parents that his 'trapped' by the arrangement They told MailOnline: 'It's disappointing—and frankly absurd—that anyone would try to twist Nicola and Brooklyn's marriage, and this meaningful milestone of home ownership, into something toxic. 'Their relationship is grounded in love, respect, and commitment. 'The suggestion that Brooklyn is 'trapped' isn't just false—it's a deliberately cruel and baseless narrative aimed at undermining a strong, loving marriage.' MailOnline has contacted representatives for Brooklyn Beckham, and David and Victoria Beckham for further comment. It comes after Brooklyn appeared to fail to publicly acknowledge Father's Day, despite his parents publicly reaching out. David had told his children: 'I will always be there, no matter what' in an emotional Father's Day Instagram post. He shared pictures of Victoria and their four children Brooklyn, 26, Romeo, 22, Cruz, 20, and Harper, 13, laughing and looking cheery in happier times. Subtly reaching out to his eldest son, David insisted he will always be around to support all his children, even if times get tough. He wrote: 'My most important & favourite job in life is being a dad... I'm so proud of all of you and like daddy ( sorry boys ) tells you every single day I will always be here for you no matter what... 'Mummy thank you for doing the most important part and making me a father there is no greater gift in life than making me a dad... Happy Father's Day... I love you kiddies more than you could imagine.. @victoriabeckham @brooklynpeltzbeckham @romeobeckham @cruzbeckham #HarperSeven @tedbeckhamdavid.' David continued marking the day by sharing throwback snaps of his children to his Instagram stories, including Brooklyn, and tagged him in each individual capture. 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28 Years Later: A terrifying vision of Britain turning in on itself
28 Years Later: A terrifying vision of Britain turning in on itself

Telegraph

time41 minutes ago

  • Telegraph

28 Years Later: A terrifying vision of Britain turning in on itself

Few places in Britain scream zombie apocalypse less than the Northumbrian coast, which makes it the perfect setting for Danny Boyle 's new film. This transfixingly nasty, shrewdly postponed sequel to 2002's 28 Days Later finds a knot of survivors ensconced on the island of Lindisfarne where the otherwise endemic Rage virus has yet to reach. The menfolk work with their hands, the children sing hymns at school, and in the evenings, bitter is swilled by the tankard, while an accordion leads the revellers in roaring song. This little heaven built in hell's despair is separated from the ghoul-infested mainland by a gated tidal causeway which only the untainted few are permitted to cross. You might say its inhabitants have taken back control – but then so has virus-free Europe, which has the entire UK under a militarily enforced lockdown of the damned. The original 28 Days Later – written, like this one, with a beady sociological eye by Alex Garland – noted the civil unrest that had started to fester as the optimism of the early Blair years began to fade. This follow-up doesn't re-take the temperature of British society one generation on so much as vivisect its twitching remains. Call it Disemb-owell and Pressburger: an unholy hybrid of A Canterbury Tale and Cannibal Holocaust which Boyle was perhaps uniquely placed to pull off, and which stands as his finest film since 2008's Slumdog Millionaire. It isn't 'about' Brexit or Covid or anything else so crudely specific: rather, it's a phantasmagorical vision of a deeply familiar, vulnerable, beautiful nation that has become intent on simultaneously turning in on and against itself. Its plot centres on a 12-year-old lad called Spike (Alfie Williams, a real find) who illicitly leaves his island haven to search the mainland for a much-whispered-about doctor (Ralph Fiennes) who might be able to help his mother Isla (Jodie Comer) overcome an unknown disease. Spike's father Jamie (Aaron Taylor-Johnson) is a seasoned stalker of the infected, among whom muscular 'alphas' have begun to emerge. (Presumably because fabric rips and rots, one point of difference with the first film and its now canonically sidelined original successor, 2007's 28 Weeks Later, is that the zombies here are obviously nude; sometimes pendulously so.) Early on in the film, Taylor-Johnson is hungry to induct his son into the hunting rite, and their first joint expedition proves as heart-in-throat for the audience as it does arrow-in-throat for most of their targets. The precise moments of impact are captured by cinematographer Anthony Dod Mantle with a sickening, time-freezing jerk, as if the camera operator from The Matrix has just had his neck snapped. Mantle shot much of the film on (augmented) iPhone cameras, which give the regularly outrageous action a terrifyingly ordinary texture like Facebook photos from a walking holiday in Alnmouth. Garland employs a strain of peculiarly British pulp humour – very 2000 AD, very Warhammer 40,000 – to undercut the ambient dread. And flashes of Arthurian fantasias and wartime newsreel footage (as well as a pointed double cameo for the now-felled Sycamore Gap tree) serve as regular nudges in the ribs as he and Boyle toy with the notion of a 21st century British national myth. Perhaps more than any of the above, though, it's Fiennes's gently patrician, RP-accented doctor – whose bedside manner is impeccable even when stripped to the waist and slathered in iodine – which gives 28 Years Later its lingering, Kiplingian ache. A brief prologue and epilogue suggest that next January's sequel, titled The Bone Temple and directed by The Marvels' Nia DaCosta, will stir Scottish Presbyterianism into the mix. What British end of the world worth its salt would be without it? 15 cert, 115 mins. In cinemas from June 20

Magnificently bloodthirsty: 28 Years Later reviewed
Magnificently bloodthirsty: 28 Years Later reviewed

Spectator

timean hour ago

  • Spectator

Magnificently bloodthirsty: 28 Years Later reviewed

First it was 28 Days Later (directed by Danny Boyle, 2002), then 28 Weeks Later (Juan Carlos Fresnadillo, 2007) and now Boyle is back at the helm with 28 Years Later, which is, as I understand it, the first in a new trilogy. This post-apocalyptic horror franchise could go on for ever. As the last film was generally (and rightly) regarded as a desultory cash grab, there is much riding on this one. The verdict? It's entertaining but not outstanding. The biggest surprise is its tonal swerve into sentimentality. Jodie Comer and Ralph Fiennes, however, bring character and heft and, just to put your minds at rest, yes, it's as magnificently bloodthirsty as ever. What you will most want to know is: 28 years after the 'rage virus' was let loose from a chimpanzee laboratory, where the hell are we? We're on an island off England's northeast coast where a group of survivors have retreated. The virus, we are told, has been contained in the UK while the rest of the world has abandoned us, which is mean. The film is also a family drama, with, at its centre, a dad (Aaron Taylor-Johnson), a mum (Comer) and their son Spike (Alfie Williams). Spike is now 12 and must embark on a hunting trip to the mainland with his father to learn how to kill 'the infected'. This seemed like madness to me, but there you are. The 'infected' are not zombies as they've never been dead so can't be undead – I'm a stickler for this sort of thing – but they're certainly zombies to all intents and purposes, with their cravings for human flesh and blood. We have skinny, naked, screeching ones who lurch awkwardly (or sprint fast, best of both worlds) and fat, slow ones who crawl the forest floors like Sumo wrestlers with grievous psoriasis. 'There are some strange people on the mainland,' Spike's father tells him at one point. You don't say? There's jeopardy, jump scares and gory moments – such as intestines spilling out of mauled bodies – in freeze-frame. From what I could tell – through my fingers – one of 'the infected' gets an arrow straight to the penis, and while I'm not rooting for them, what an unpleasant way to go. I'd heard that 'the infected' had mutated to be more intelligent but I couldn't see too much evidence for that. The tonal switch happens midway through, when it stops being a father-son story and becomes a sentimental mother-son one. Which means they go on a quest together that brings them into the orbit of Fiennes's character. And while I daren't say too much it does look as if he's been Tango'd. The audience tittered when he first appeared but I hope they were appreciative (after Conclave, I can forgive him anything). Boyles's extensive use of an iPhone gives it the shaky look fans of the original will welcome, while the soundtrack features a brilliantly deployed, century-old recital of Kipling's poem 'Boots'. It could be smarter, with less of a kill-or-be-killed narrative, and I would have liked a crib sheet. Who gets to become a fat Sumo and who doesn't? The second film made a big deal of some people becoming contaminated without symptoms, and that's just gone away? But Comer and Fiennes bring depth – and you can sense some fun was had. The ending, alas, isn't an ending, but a set-up for the next one. I now realise the sequel was filmed simultaneously and is due for release in January. It's called 28 Years Later: Bone Temple. That's cheating, to my mind, and if it picks up where we leave off, shouldn't it be 28 Minutes Later? Get a grip, lads. Get a grip.

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