Jodie Comer looks striking in a metallic silver dress as she leads stars at 28 Years Later premiere
JODIE Comer looked striking in a metallic silver dress, as she led the stars at the 28 Years Later premiere.
The chilling
teaser
for
Advertisement
8
Jodie Comer looked striking in a metallic silver dress, as she led the stars at the 28 Years Later premiere
Credit: PA
8
The 32-year-old actress oozed glam with her makeup look on point, and her blonde locks in a straight down do
Credit: Splash
8
Jodie Comer, Alfie Williams and Aaron Taylor-Johnson star in the movie
Credit: AP
8
Aaron and wife Sam put on a glam display
Credit: Splash
The new release boasts a star-studded cast, including Jodie,
And the new 28 Years Later
film
follows the classic 2002 movie starring Peaky Blinders actor Cillian.
He's returning as an executive producer - and will even appear as original character Jim "in a surprising way", according to Sony Motion Pictures chairman Tim Rothman.
Arriving for the premiere of the hotly-anticipated new movie, Jodie turned heads in her floor length metallic dress.
Advertisement
Read More on Jodie Comer
The 32-year-old actress oozed glam with her makeup look on point, and her blonde locks in a straight down do.
She partnered her dress with some metallic heels and a smokey eye, while walking the
red carpet
in
London
, to the backdrop of a wall of skulls.
The beautiful actress posed for photos with Danny Boyle and Aaron Taylor-Johnson, and Ralph Fiennes rocked up in a statement blue suit for the World Premiere at the Odeon Luxe Leicester Square.
Aaron Taylor-Johnson put on a dapper display, and was seen posing for photos with his wife Sam Taylor-Johnson, who looked striking in a white dress.
Advertisement
Most read in Celebrity
The 14-year-old star of the film, Alfie Williams, also walked the red carpet in a red suit and black top, and joined together with his co-stars for photos.
The star-studded event saw a string of
celebrity
faces in attendance, from TV host
Joel Dommett
to model Tigerlily Taylor.
28 Years Later trailer reveals Hollywood star's horrifying zombie transformation - can you guess who it is?
Speaking about her new film project, Jodie said: "Having met Danny [Boyle], he's incredibly sure and confident and innovative
"As an actor to be on a set with someone like that who's leading the charge is so exciting.
Advertisement
"I remember seeing 28 Days Later and I was so struck with how it was so rooted in reality, and it was more about the exploration of us as a species and our behaviour and how we react.
"It felt like there was a lot of emotional truth within the film that really anchored it. That's also what I felt when I read this script."
Meanwhile, Cillian says the 22-year-old movie is the only one of his films he
watches
back.
"I never watch my own films, except that one. I have great affection for it."
Advertisement
He added: "I can't give much more at this point, but I've always said I would love to be involved because that movie changed everything for me.
"It's always on around Halloween and during the pandemic people were constantly sending me clips.
"And I've shown it to my kids. It's really stood up, even though it's 22 years old now."
28 Years Later is set to be released on June 20, 2025.
Advertisement
8
Arriving for the premiere of the hotly-anticipated new movie, Jodie turned heads in her floor length metallic dress
Credit: Splash
8
Ralph Fiennes is one of the stars of the film
Credit: Splash
8
A string of famous TV faces turned up to the movie premiere
Credit: Getty
8
28 Years Later star Alfie Williams, 14, opted for a rose patterned suit
Credit: Splash
Advertisement
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Irish Times
5 hours ago
- Irish Times
28 Years Later review: Danny Boyle's rattling zombie epic never lets up in pace or invention
28 Years Later Director : Danny Boyle Cert : 16 Starring : Alfie Williams, Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, Jack O'Connell, Edvin Ryding Running Time : 1 hr 55 mins It has actually been a mere 18 years since Juan Carlos Fresnadillo's decent 28 Weeks Later followed up what might be Danny Boyle 's most influential film. Shot on scuzzy-looking digital video, 28 Days Later, a breakout hit in 2002, inveigled a then-novel off-the-cuff sensibility into mainstream cinema. The cinematographer Anthony Dod Mantle honours his own innovative work back then – and moves things forward – by shooting most of the current zombie epic on an iPhone with attachments. The rich, allusive, aggressively English result, with Boyle back as director, finds fresh things to say with the disgusting lore while keeping comfortably between the franchise's guardrails. Boyle and his screenwriter Alex Garland look to be gesturing a thumb at one significant real-world event that convulsed England over those 18 years. It seems the rage virus, after escaping to France at the close of the last film, has now been beaten back to Britain. At least one island off the northeast coast has found a way of existing in quasi-normal isolation. A causeway, passable only at low tide, connects the citizens to a land pounded by the familiar dashing ghouls and now oozed upon by fatter, more sluggish undead. The film-makers have bleak fun with what the island community has become. Taylor Holmes's 1915 reading of Rudyard Kipling's Boots, honouring British troops in the second Boer War, accompanies archive footage of proud Englishman gearing up to save the world in the 1940s. On the island, the survivors drink warm beer beneath an image of Queen Elizabeth II at the time of her coronation (or thereabouts). Meanwhile, vessels from the European mainland circle, hoping to enforce an understandable quarantine. READ MORE So Europe continues to move through the 21st century while Britain retreats into animalistic brutality and 1950s cosplay. Can you see what it is yet? To be fair to writer and director, it requires no awareness of that Brexit analogy to enjoy a rattling quest narrative that never lets up in pace or invention. Jamie (Aaron Taylor-Johnson), a tough scavenger, and Spike (Alfie Williams), his spirited son, live in a state of fretful toil. Isla ( Jodie Comer ), wife to one and mother to the other, struggles with an apparently unstoppable disease that causes her to forget what has become of the world. On a first trip to the mainland with Dad – a sort of first-blood ritual – Spike spots a fire in the distance and later learns that it marks the encampment of a deranged former GP. Against the advice of Jamie, he takes mother to meet this Dr Kelson ( Ralph Fiennes ) with a mind to curing her ailment. Time will tell if Kelson has, as initially seems likely, become the series' Mr Kurtz. What most sticks in the brain is the film's incidental meditation on the mythology of England from distant past to speculated future. In this timeline the Sycamore Gap tree, felled by vandals in 2023, still stands in Northumberland. Isla tells that her dad believed Antony Gormley's Angel of the North, now overgrown, would endure as long as Stonehenge. No surprise from the film-maker who devised that oblique take on British patriotism for the opening ceremony of the 2012 Olympic Games. Boyle knows that 28 Days fans, though happy to enjoy all that padding, will expect some grade-A gore from such an entertainment. There is no shortage of beheadings and eviscerations. The implied promise of a chase along the causeway as tides rise is honoured. The momentum continues right up to – fair warning seems required – an open ending that will leave most panting for 28 Years Later: The Bone Temple. That film will be with us in January 2026. In cinemas from Thursday, June 19th
RTÉ News
5 hours ago
- RTÉ News
Jodie Comer says being led by Danny Boyle in 28 Years Later was a 'proper dream'
Jodie Comer has said being led by director Danny Boyle on the set of 28 Years Later was a "proper dream". Comer, who is best known for playing the antagonist Villanelle in the hit BBC series Killing Eve, was speaking at the 28 Years Later world premiere in London's Leicester Square on Wednesday evening. 28 Years Later is set in the same world as the 2002 apocalyptic horror 28 Days Later, which saw Cillian Murphy play a bicycle courier who awakes from a coma to discover the accidental release of a highly contagious, aggression-inducing virus has caused the breakdown of society. The new instalment follows on almost three decades since the virus escaped a biological weapons laboratory, where some have found a way to exist amid the infected despite an enforced quarantine. When one of the group leaves the gated island they are residing on for a mission to the mainland, they discover secrets and horrors that have mutated not only the infected but other survivors as well. Comer features in the film alongside Ralph Fiennes and Aaron Taylor-Johnson. Comer said on Wednesday: "I was honoured when I got this script through. "And you know, with the opportunity to sit down with Danny, who's a filmmaker who I've admired for a very long time, and to be kind of led by him and be on one of his sets is a proper dream." She added that Boyle leads a "calm, playful, fun" set.
Irish Independent
5 hours ago
- Irish Independent
28 Years Later review: Danny Boyle's latest zombie apocalypse effort fails to get the pulse going
Occasionally, review-proof films too big to fail might only be given a token preview to press and reviewers. Greta Gerwig's Barbie fell into this category; a release with so much momentum and anticipation that nothing could dissuade cinemagoers. But 28 Years Later does not fit that bill. The zombie franchise tore up a well-worn template in 2002 with 28 Days Later, introducing the world to both an unforgettable depiction of a modern British apocalypse as well as the leading-man attributes of one Cillian Murphy (who is executive producer this time around). Danny Boyle's indie horror (written by screenwriting supremo Alex Garland) was fresh, jarringly visceral, and recalibrated the undead as rabid, sprinting frenzy-feeders. Boyle and Garland sat out its 2007 sequel, 28 Weeks Later, but Juan Carlos Fresnadillo's film capably expanded their grim vision, with Robert Carlyle starring. The long-awaited reunion of Boyle, Garland and the 'rage virus' is worthy content for discerning film columnists. So why all the secrecy? If distributors decline to run a press preview, it can mean they either want to contain some ground-shuddering spoiler in the plot, or else the film is not very good. In the case of this new instalment, apparently more than 20 years in the planning, it sadly looks like the latter. Both men have decided to snuff out the events of 28 Weeks Later. After a lacklustre opening sequence, we're told the virus was contained in mainland Europe and is now only a concern in 'the UK' – before showing us a map of the UK and the Republic of Ireland. Ah, the Brits – never not at it. Putting that to one side, we're straight into a small but organised offshore island commune somewhere off the quarantined British Isles. Connected to the mainland by a tidal causeway, the community is entirely self-sufficient and maintains some semblance of societal normality inside its maritime fortress. Jamie (Aaron Taylor-Johnson) is taking 12-year-old son Spike (Alfie Williams) on a coming-of-age field trip to the mainland so he can show the lad how best to skewer the infected with a bow and arrow. Obese zombies make for good target practice, but when they encounter an 'alpha' – a smarter and stronger strain of infected – they are chased by naked, shrieking hordes straight out of a Woodstock festival mudfight. While taking refuge, a distant bonfire had tweaked Spike's curiosity. Back on the island, he learns this is a mysterious doctor (Ralph Fiennes) who the islanders have a strange mistrust of. All Spike can think of is whether this hermit might be able to help Isla (Jodie Comer), his bed-ridden mother. And so he sneaks off with her in search of this story's Colonel Kurtz figure. Being released into a world that knows all too well what a real viral pandemic can look like, you'd think 28 Years Later would seek to hit this nerve in the public consciousness. But rarely, if ever, is there any sense of tangible dread in Boyle's film. Real dread, the kind that made knuckles white and mouths dry 23 years ago watching the first film. Instead, we just have a tired sequence of characters going out of their way to get into trouble only to barely make it out the other side, a dull and frustrating plot rhythm that Garland revives after last year's equally flat Civil War. You expect an element of the arch with Danny Boyle, but there are some artistic decisions in 28 Years Later that are not only self-indulgent and ill-fitting, they rob the tale of any tension. A near-constant barrage of indie music in the soundtrack (Scottish hip-hop progsters Young Fathers are on score duties) lets all air out of the viral hellscape, as do a series of bizarre archive clips of medieval re-enactments and yeomanry spliced into the action. Boyle and Garland are obviously entitled to add a smirk or two, but they can have no complaints if the muddled tone flies over the heads of audience members. As for the farcical set piece that mushrooms up in the dying minutes, it is in such poor comedic taste that you wonder how it ever got cleared. Taylor-Johnson, Comer and Fiennes bring some small semblance of integrity, but there is too much going wrong around them. A massive disappointment. Two stars
