Just last year, 28 Years Later turned the concept of a reboot/late-stage sequel on its ear by delivering a film that offered so much more than anyone could have ever expected from a decades-old franchise. Common sense dictates that a quarter-century dormant sequel would deliver more of the same as its predecessors, albeit with some shiny new filmmaking techniques. And frankly, had the film gone that route it would have been perfectly fine. The original film was such a game changer that even a weak sequel (weaquel?) has the potential to kick surface-level ass. History shows that even a phoned-in Danny Boyle is better than most things. Luckily for us, 28 Years Later was so much more than that. Boyle/Garland dug deep and redefined the series, making it clear that while this new trilogy is certainly in the 28 ⏰ Later world, it has pivoted to using our familiarity with the IP to tell a new story.
This week marks the release of the second film in the proposed trilogy, this time with Nia DaCosta at the helm. The Candyman/Hedda filmmaker understands the assignment in a big way, keeping enough elements of the house style to move the series forward while also injecting her own unique energy into the mix, which serves to keep things fresh and scary until part three drops later in the year (?).
The Bone Temple picks up right where the previous film left off. Spike (Alfie Williams) has found himself amidst a unique group of the street toughs who first made their oddball presence known in the final moment of Years. All are named Jimmy, and the group is led by Jimmy (Jack O’ Connell). These aren’t your average gang members, however. It becomes immediately clear that there is a religious element to their grouping. Jimmy (the head Jimmy) treats his underlings as followers, and he forces them to torture, steal, and violate anyone they may come across as a form of charity to his chosen entity of worship (lest we forget that in the previous film, Jimmy was a mere child when the infection left him without a family). This behavior naturally doesn’t sit well with Spike, but what’s a child to do?
Note to American audiences: if you plan to don a Jimmy costume this Halloween, maybe google “Jimmy Saville” before committing.
The other half of the story is devoted to Dr. Kelson (Ralph Fiennes), the kind-hearted physician who has devoted his post-infection years to building the titular bone temple and studying the infected. As he interacts with Samson (Chi Lewis-Parry), the spine-ripping “alpha” who terrorized Spike and his mother in the previous film, Kelson’s scientific approach starts to make headway in progressing beyond the current state of the island.
What we find here is a tale of science vs. faith, of humility vs. ego, of memento mori vs. cult of personality. It’s a heady bit of thematics for a film that functions, plot-wise, as a middle chapter, and even though it ends with a tease for the finale, it still feels like a complete story for the three main characters. One scene which features a simple conversation between Jimmy and Kelson showcases both actors’ immense talents as well as Alex Garland’s abilities as a screenwriter. It’s lengthy, but it could’ve gone on for hours and I’d never have known. It’s no exaggeration to say that Fiennes is doing awards-worthy work here. Another scene, one which is responsible for the poster image, must be seen to be believed. I shan’t spoil, and you wouldn’t believe me anyway.
The Bone Temple is easily the funniest entry in the series so far, darkly so, and is considerably scarier than its immediate predecessor. Yet these fears have little to do with the rage-infected populace. While the threat of a “zombie” attack remains in the periphery, the infected have become such a fact of life that their threat is no different than any other animal in the wilderness. It’s what the desperate humans do that causes real terror. It’s also DaCosta’s exceptional filmmaking. She employs violence actively, but gore passively, keeping the focus on the witnesses to violence and letting the after effects haunt the background of the frame. There are two well-earned jump-scares created in the edit that are so high-style they don’t feel like jump scares at all. DaCosta is a tremendous talent. Easily one of the most exciting filmmakers working today.
Naturally, the end of the film preps us for what will hopefully be a stellar final chapter. May the Film Gods bless Boyle and Garland with the temerity to continue the slow, thoughtful burn of their three-chapter reboot instead of diving into fan service like so many filmmakers who came before. After these first two entries my hopes are extremely fucking high, even if the end is extremely fucking nigh.
That’s a reference to the first film.
Directed by Nia DaCosta
Written by Alex Garland
Starring Jack O’Connell, Ralph Fiennes, Erin Kellyman, Alfie Williams
Rated R, 109 minutes
