(The voice-over on the trailer is Arthur C. Clarke from a BBC Horizon program, September 21, 1964.)

“28 Days Later: The Bone Temple” is directed by Nia DeCosta, who was the first Black woman (and also the youngest) to direct a Marvel Studios film. Also known for this year’s “Hedda,” 2021’s “Candyman,” and 2018’s “Little Woods,” DaCosta is in hot demand. She was  the recipient of a Black Perspective Achievement Award at the 61st Chicago International Film Festival (October19, 2025).

DaCosta said, “My big pitch when I was talking to the producers, including Danny and screenwriter Alex Garland, before I came on was, ‘I’m going to make this my own. I’m not going to try to make a Danny Boyle movie. That’s impossible to make. He’s so special. And it didn’t really interest me.'” Apparently DaCosta’s vision means blood and lots of it. Be warned.

The film was originally announced as part of a planned trilogy, with Alex Garland (“Civil War”) serving as screenwriter for all three. In January 2025, Danny Boyle confirmed that he would direct the final film in the trilogy. Cillian Murphy, from the original film, makes an uncredited appearance in a tacked-on ending that is obviously a Trump era warning, utilizing references to the Weimar Republic.

A quote is used in a scene between Jim (Cillian Murphy) and his daughter Sam, whom he is instructing in history. The quote “Those who do not remember the past are doomed to repeat it” is attributed to Winston Churchill in 1948. Investigation makes it unclear whether it is really original to Churchill or, instead, to George Santayana and/or Edmund Burke. Maybe that’s what happens when you are forced to teach history to your daughter (Sam) in a country over-run by infected humans. (Home schooling does better with more resources—like the Internet.)

 CAST & PLOT

The story of humans infected by a virus that turns them into bloodthirsty zombies with superior physical powers first came out in 2002, directed by Danny Boyle (“Trainspotting,” “Shallow Grave”). It was entitled “28 Days Later.” Its plot was described this way: “Four weeks after a mysterious incurable virus spreads throughout the United Kingdom, a handful of survivors try to find sanctuary.”

In 2005 in “28 Years Later” the story introduced us to Spike and his family, well-played by young Alfie Williams. Alfie is a sweet boy and a brave one. At the end of that film, which was shot back-to-back with this new film, Spike is orphaned and falls into the clutches of Sir Lord Jimmy Crystal (Jack O’Connell), who lost his vicar father to the infection at age 8 and now rules as the totally evil son of Satan. Or so he tells his apostles, the Fingers, claiming to be the son of Old Nick, his term for Satan.

“28 Years Later: The Bone Temple” is a return to the screen of the character Dr. Ian Kelson (Ralph Fiennes), a doctor who has survived for 28 years alone in the wilderness of Northumbria and Newcastle, creating what he dubs a memento mori, a memorial to the dead, made of the bones of victims of this viral plague. Ralph Fiennes holds the film together. He is always reliably good. The scenes with Jimmy Crystal in conversation with Dr. Kelson are excellent.

Chi Lewis-Parry does an impressive job as Samson and makes Jason Momoa look like he needs to hit the gym.

Jimmy Crystal (Jack O’Connell) isn’t just evil; he seems to be totally without human compassion. In appearance, he is modeled on Jimmy Savile (1926-2011), a British pedophile who was Emcee of the “Top of the Pops” music show on the BBC, a program I remember from my days as a UK People-to-People exchange student. Savile, late in his career, was found to have molested more young people than perhaps any other pedophile in British history.

Shortly after being rescued by the Fingers gang, Spike is initiated into the group by being forced to fight to the death against one of the Jimmies, Jimmy Shite (Connor Newall). The opening scene is brutal, bloody and absolutely horrifying. Spike wins, but you know from this opening scene that this is going to be a stomach-churning horror film.

Sir Jimmy renames Spike “Jimmy,” in keeping with his practice of giving all Fingers variations of that name. There is Jimmy Ink, well-played by Erin Kellyman, who shows a tiny bit of compassion to the young Spike. In addition, there are Jimmy Jones (Maura Bird), Jimmy Snake (Ghazi Al Ruffai), Jimmy Jimmy (Robert Rhodes), Jimmy Fox (Sam Locke) and the sadistic Jimmima (Emma Laird.)

As the plot progresses, Dr. Kelson has success in befriending Samson and develops a theory about a cure that seems promising. Dr. Kelson’s ability to befriend Samson is a result of morphine, among other drugs of choice.  The plot developments that follow Ralph Fiennes’ dance as the devil provide a unique “surprise” ending and plot twist.

SETS

The sets for the bone temple are incredibly intricate. Production designers Carson McColl and Gareth Pugh used 5,500 skulls and 100,000 bones to construct 1,000 upright columns. Bravo! There is an aerial shot that shows the bone temple amidst the forested lands. It is but one of many breathtakingly beautiful bits of cinematography from Sean Bobbitt. There is also the intricate underground lair where Dr. Kelson retreats to be safe. Wonderful attention to detail is shown in designing both spaces and the forests and sunsets of the area are breathtakingly beautiful, but to be afoot in the area is to risk one’s life. One character (Jonno, played by Gordon Alexander) finds this out the hard way.

MUSIC

When Jimmy and the Fingers stumble upon Dr. Kelson, who is red from the iodine he uses to protect against the infection, Jimmy talks Dr. Kelson into impersonating the devil. That gives us a truly great scene with Fiennes performing to Iron Maiden’s “The Number of the Beast.” The music, throughout, is unique, with Hildur Gudnadottir (“Joker,” “Sicario: Day of the Soldado”) composing and features a song over the credits entitled “In the House in a Heartbeat.” The song was originally written for “28 Days Later.”

DIFFERENCE OF OPINION

The critic for Roger Ebert, Robert Daniels, did not like Alex Garland’s script very much and said, “The hardest part to stomach about “28 Years: The Bone Temple” is its meaninglessness.” That review also said the film was “The second part of a planned trilogy, or I guess the fourth film of a quintet.” [Not helpful.]

I disagree with the ‘hardest part to stomach” remark.

The hardest part to stomach is the unremittingly bloody gore.

It’s well-done, well-acted, with good cinematography and music (although using adjusted camera angles to give the infected humans erratic motion I could have lived without.) For me, the script was fine. The plot made its point, although the gore moved into overkill. But the music, cinematography, acting,  production design and overall impact  have yielded $15 million at the box office since the film’s release on January 16th. It will be interesting to see if the extreme gore attracts viewers or repels them. (“Different strokes for different folks.”)