Episode 104: 28 Days, Weeks, & Years Later Trilogy

[00:00:00] Speaker A: Foreign hello, everyone, and welcome to our Trilogies with Logan and Andy. I'm Logan so. [00:00:23] Speaker B: And I'm Andy Carr. [00:00:24] Speaker A: And on odd Trilogies, we take a trio of films where they're tied by cast and crew, thematic elements or just numerical order, and we discuss the good, the bad and the weird surrounding each film. And today, on June 28, which is when this episode is out now, we are talking about another 28, specifically in honor of the latest entry in this franchise, one that will actually go farther than we anticipated when we first put this on the schedule for the year. We are talking about today Danny Boyle, Alex Garland's 28 days, weeks and Years later trilogy. We will be talking about 2002's 28 Days Later, 2007's 28 Weeks later, and then a huge gap into this year's 28 years later. And it is quite a journey to go from that original film to where we are now. It's crazy to think how much has changed, not even just in terms of how much war Boyle and Garland are from the beginning of their relationship. Because initially, going into 28 days, Alice Garland, who is a writer, director now, at the time, was just a writer, which is not a derogatory statement. That's just a fact. [00:01:50] Speaker B: But people would know him today as Annihilation, Civil War and stuff like that. [00:01:55] Speaker A: Also, literally, after doing Civil War last year and saying that he was done with directing, had a new film out this year. He co directed Warfare. [00:02:03] Speaker B: Right. [00:02:03] Speaker A: Which is considered one of the best films of the year so far at least. Was very well positive when it came out. Basically has. It's almost like Oppenheimer in the sense. It's like every young man in like his 20s or 30s just in this movie. Yeah, but, yeah, in the late 90s, there was a book that Garland wrote called the Beach, a novel that was adapted into a film. And I believe 2000 99, 2000 of the same name, the beach, starring Leonardo DiCaprio and directed by Danny Boyle. I don't believe Garland did the adaptation of his own book. I think someone else did the adaptation, but in the process of Boyle doing the beach, which apparently was kind of an experience that I don't think he wanted to replicate right after making that film, but he decided he wanted to do something smaller. He wanted to do something that had bite, grit and impact, but also didn't feel like he was giving tens of millions of dollars in hopes that it'll actually make its money back. [00:03:07] Speaker B: Yeah. [00:03:08] Speaker A: So right after finishing the Beach Goes Into, Garland has an idea that is inspired by George Romero. Because if you're gonna do anything zombie related, which, in case you don't know, the 28 franchise is a zombie franchise. Even though hilariously, Danny Boyle and I think one of his producers, or just like, you know, a lot of people working on 28 days later were very hesitant to call the film a zombie film. Garland, from the very beginning of writing the script basically was like, yeah, this is a zombie film. He wrote a script that was inspired by George Romero as well as the novel Day of the Tripids or Day of the Tripids. [00:03:53] Speaker B: Tripids. [00:03:53] Speaker A: Tripids, which is, I think, a 50s novel and basically built this world that at the time, I think is considered bold because of where zombies were at the time. Because hilariously enough, in 2025, I don't. Thankfully, I do not think we're in an over saturation of zombie media like we were in the 2010s. [00:04:20] Speaker B: Yeah. [00:04:20] Speaker A: But it is funny. [00:04:21] Speaker B: There's a lingering taste of all of the saturation we got in, like mostly the 2010s, kind of the 2000s as well. But yeah, I think I feel anyway. And it kind of seems like generally a lot of people still feel like zombies are played out because of that craze. [00:04:41] Speaker A: Oh, yeah. [00:04:42] Speaker B: But yeah, we are definitely past the, like, zenith of that, thankfully. [00:04:46] Speaker A: Yeah. Because hilariously enough, after the second film in this trilogy, 28 Weeks later comes out, I think a year or two after that movie comes out is when the Walking Dead hits. And it's the transition from the 2000s zombies to like the 2010s of, you know, at that point, I think Zombieland has already come out. The Walking Dead's the biggest thing AMC has ever had. So of course they are still milking that dead. Milking that dead cow. Currently. [00:05:15] Speaker B: Yeah. [00:05:15] Speaker A: I think season three of Nixon in Daryl Dixon in Paris. It's not called that, but Daryl Dixon's show is on season three. And there's like a Negan spin off. Yeah. Like it's now Walking Dead as a. As a television series has, I think, 11 seasons. [00:05:35] Speaker B: It's gone the way of like CSI and NCIS where there's four different shows of technically the same. [00:05:42] Speaker A: Yeah. [00:05:42] Speaker B: Characters. [00:05:43] Speaker A: And it's one of those things where I think Fear the Walking Dead doesn't exist exist anymore. I think it's finally done. [00:05:48] Speaker B: Yeah. [00:05:48] Speaker A: But I pretty sure that had like six seasons before that show ended. And. But before all of that, there is this weird time I would believe in like the late 80s up until the 2000s, where the idea of A zombie film feels either played out or feels almost like no one wants to touch it. [00:06:09] Speaker B: Yeah, well, I mean, it's kind of a similar place, maybe more extreme than we are like now, where it's like, yeah, in the 70s we had so many zombie movies. Even in the 80s. [00:06:21] Speaker A: Well, with dawn for sure. Dawn of the dead in the 70s. And then day, which I think Day of the Dead, even though now I really adore Day of the Dead in a lot of ways, it was not a big of a hit as the other two films. We talked about that, gosh, forever ago when we talked about Romero's Dead series, like, trilogy. [00:06:40] Speaker B: Well, and there's a lot of, like, now obscure, like, Italian zombie movies and stuff, just because it was so. I mean, you know, the Italians did the same thing to Westerns. [00:06:52] Speaker A: But in that time frame, when it comes, when 28 days later is coming out, it's no surprise that Boyle and company are a little hesitant to be kind of tied to something that is. Even though when Romero started that it had political, you know, political background in terms of like, you know, sub. Subtext in a lot of culture about, like, consumerism and, you know, where society is going, but not in a joker sense, just, you know, a general sense of how it feels with, like, how consumerism is making us the zombie. Which is why dawn the Dead is the way that it is. And then Day is more so. Gosh, Day is just has so much going on in that movie that is. It's hilariously a film that has so much going on. You haven't seen Day? No, I thought we talked about it for the pod. [00:07:45] Speaker B: Oh, did we? [00:07:45] Speaker A: Jesus, I thought we did forever ago. [00:07:48] Speaker B: Day of the Jackal, Day of the Dead. Did we watch this? [00:07:53] Speaker A: Was it that one? Or was it. Or just because we watched John of the Dead for Snyder. Because we did do it for Snyder. Because I definitely watched Dawn. [00:08:03] Speaker B: Yeah, I don't think we've watched Day of the Dead. [00:08:06] Speaker A: Holy shit. So I guess we haven't really done Romero's straightforward trilogy. [00:08:10] Speaker B: Yeah, we did watch the original dawn of the the Dead, Snyder's dawn of the Dead. [00:08:15] Speaker A: So we probably did talk about. I probably talked about Day a little bit in that episode or talk about wanting to watch Day. But yeah, all. All three of Romero's original kind of trio of Dead films, it had this. There were similar thematic elements kind of through lined, but wasn't the same film each time. And it wasn't even trying to be a cohesive trilogy in terms of, like, characters kind of being brought over or referencing things that happened in a past film. If there were cheek things it was never intentionally meant to be like, well, all that's a reference to Dawn. There was not much to that there. [00:08:51] Speaker B: And on the. [00:08:52] Speaker A: Like you said, on the cusp of those movies happening in day coming out, you do also have Return of the Living Dead, which is the. The reason why modern day. Of any modern day zombies has brains. It kind of starts with that movie because in that movie, they literally do not eat flesh, they only eat brains. And that movie is hilariously, a pseudo sequel to Romero's daughter, Light of the Living Dead. Even though it's not Romero's. [00:09:21] Speaker B: Not, like, official or anything. [00:09:22] Speaker A: Yeah, it's not affiliated. But zombies all the way into the 90s, it has this energy of like, okay, so, yeah, like Andy said, they're played out. There's nothing more we could do with the zombie. Well, in the 2000s, in an era where. In a time where, you know, with so many things, so much happening in the world at the time. And then also when they're shooting this movie, this is something that. I think you might know this. We might have talked about this, but, like, they start shooting 28 days later. Some of the early stuff they shoot for this film is August of 2001. [00:09:58] Speaker B: Okay. Yeah. [00:09:59] Speaker A: And so, like, they shoot, I think, a little bit in September. [00:10:03] Speaker B: Right. [00:10:04] Speaker A: And then 911 happens. [00:10:06] Speaker B: Yeah. [00:10:07] Speaker A: So, like, at this point when the movie's being made, like, what's so interesting, too, is, like, when the movie starts, there is, I would say, probably truly one of the most fascinating and horrifying kind of shots you can have, which is the lab, but it's the lab of the chimpanzee being attached to the table. [00:10:26] Speaker B: Yeah, yeah. [00:10:27] Speaker A: Watching news footage, because it's interesting, too, because it's like, all that news footage is not doctored. It is not footage shot for the film. [00:10:35] Speaker B: Right. [00:10:36] Speaker A: That is all real shit that's happening in the world at that time and have happened in the past. And it's just. It is so interesting how, like, when Adam watched it with me, because Adam are, of course, veteran guest. Yeah, veteran. Veteran guest. Past and future guest of the show. One of our best friends. I watched all three of these films with him. We watched the third film together. [00:10:59] Speaker B: Yeah. [00:11:01] Speaker A: He, like, immediately was like, oh, are they trying to say that this virus exists in this world? And this is just like. Because in his head, he was like, all that footage. I thought in his head, he's probably like, oh, that's supposed to, like, build the world context. [00:11:16] Speaker B: Like, the opening of the Last of Us. [00:11:19] Speaker A: There's zombie stuff happening in other countries. And it's like the saddest thing is, is, no, that is just. [00:11:25] Speaker B: Just footage of our world. [00:11:27] Speaker A: Probably a little bit of the Rwandan genocide war in the Middle East. Like, there is just things in there. [00:11:34] Speaker B: Where they are just beaming human cruelty into this monkey's brain. [00:11:39] Speaker A: I completely forgot going into this trilogy that the, the epidemic itself starts because scientists are just pumping a new virus into a bunch of chimpanzees and forcing them to watch. Just very. Just frustrating, scary television. [00:12:02] Speaker B: Yeah. [00:12:02] Speaker A: Being strapped to a table. [00:12:04] Speaker B: And I can't remember. I can't remember if they even say. But aren't they like. Are they like testing for a vaccine or something? [00:12:13] Speaker A: Basically, yeah. Cause in that scene, basically what starts it all off is a bunch of eco activists. Activists. They're not full blown terrorists, they're like animal rights activists. Yeah. Break into a lab because they think that the, the scientists are, you know, torturing. They're torturing these monkeys. And to a degree they kind of are. But. [00:12:33] Speaker B: Yeah, it's not a pretty picture, but. [00:12:35] Speaker A: It'S like, not any different than like any. What any lab probably does in terms. [00:12:39] Speaker B: I don't know if most labs are playing dark news. [00:12:42] Speaker A: No, no, no. And I will say if. If I was an animal activist and I heard that there were Fox News. [00:12:49] Speaker B: For the chimpanzees, you would break into. [00:12:51] Speaker A: Well, it's like, you also see that the lab. The lab is like striking. It's not. Looks nothing like any lab you'd think about clean. [00:12:59] Speaker B: It does not look organized. It's like this dark prison with metal beds. [00:13:04] Speaker A: It looks like a BDSM dungeon. Glass cage with, like playground shit. It doesn't. Yeah. I'd be like, yeah, get these chimps out of here. But the one scientist who shows up who has the most expressive eyes and biggest mouth in the world, but he pops in. [00:13:19] Speaker B: Oh, yeah. [00:13:19] Speaker A: He is basically like. He basically establishes to us that the rage virus does exist, but it hasn't made that initial threshold. [00:13:30] Speaker B: Chimpanzees, I think only at first, but. [00:13:32] Speaker A: It hasn't made that threshold into a human epidemic. [00:13:37] Speaker B: Yeah. [00:13:38] Speaker A: And then of course, the human activists don't give a shit. They release the. The apes. The apes. The chimps go fucking crazy. They eat people. Then we start to see how the rage virus works. And then we get to cut, you know, black. And then 28 days later. [00:13:54] Speaker B: Yeah. [00:13:55] Speaker A: And then we get. In my opinion, and I think most people's opinion, this is like the coldest take in the fucking world about this movie. I think that's when we get the best. This is where we get the stuff in the movie that is perfect. [00:14:08] Speaker B: Yeah, yeah, yeah. [00:14:09] Speaker A: Basically the next 30 to 45 minutes, it is just like the world building is immaculate. Without feeling like it is talking down to you or giving too much information. The world feels desolate. You basically, you follow a bicycle. A bicycle messenger. A bike messenger who basically gets hit by a car, I believe, and then is in a coma. His has to be like in a medically induced coma. Wakes up hanging dong fully naked. [00:14:39] Speaker B: Yeah. [00:14:39] Speaker A: And realizes that there's nobody in the hospital. In fact, there's nobody in anybody in London. [00:14:46] Speaker B: Yeah. It's a really perfect like scene setter, like mood setter and that. Like you. I'm. Yeah, I'm not like, you know, like super well versed in zombie cinema, but like I haven't seen another zombie movie that like sets the stage that well for like what the world feels like after something like that. And maybe it's because we've lived through Covid since then and so we've actually seen very open public spaces that closed down. But it feels very visceral. I mean, to watch Killian Murphy walking around London, the busiest parts of London, and there's fucking nobody there. [00:15:26] Speaker A: Which they shot with no permits, early in the morning. Shit that they could have never done after 911 happened. [00:15:34] Speaker B: Right. [00:15:34] Speaker A: Like, should they, I think is some of the stuff they shot at the very beginning of the production. But yeah, it is absolutely the flip of the coin of another film that comes out literally, I would say, because of this film's popularity, which is Snyder's dawn of the Dead remake. Where that film, I think also has the best. The best stuff in that film is in the very beginning. But that's also the very beginning is basically following, I believe Sarah Paul Lee is the lead. It's the blonde woman, she goes back home, her daughter's sick, her husband. They like, they wake up. [00:16:11] Speaker B: She's like in her suburban neighborhood and everything's blowing up. Yeah. [00:16:14] Speaker A: Oh yeah. No, it's a neighbor girl. A neighbor girl walks into the house. Her face is ripped off. And then she eats Sarah Paulie's husband. And like it's. That is the American take on that, especially in the 2000s. And that of course has running zombies because, you know, because. Yeah. But then it's so fascinating to see how 28 Days Later's version of Just like setting the tone is. Despite the fact that this movie has this grittiness, this Huge, immense amount of like obscene violence and gore, specifically from their zombies. The way that it conveys how serious and how scary this epidemic is is just being alone in London and not a single noise, all the rustling papers in the world. You have all these things going around you and you don't run into anybody until Cillian Murphy, who again, wild to think that this is the movie that I think really kicks off his career. [00:17:20] Speaker B: Yeah. [00:17:20] Speaker A: In any way, shape or form, goes to a church and that's when we get our first instance of zombie action. [00:17:30] Speaker B: Which, which is a really. It's a really cool intro. Zombies. Because you. He goes into the church and there's just. I mean, he sees dead bodies. Yeah, A bunch of dead bodies. And I think he just says like hello or something. And one of the zombies pops out of the pews and just looks at him. [00:17:49] Speaker A: Yeah. Two just like perk their heads up like they're dogs. Just hearing it like. Yeah. A tree branch break. And then of course, a priest walks out of a, like a study. And that's when he goes, father. And then he's. The priest runs at him, he hits him and then apologizes to the priests and then realizes, oh, this is not exactly what I expected it to be. [00:18:11] Speaker B: It's such a good, like, practical way of showing this character experiencing zombies for the first time because, like, nobody would immediately think, oh, there's zombies. It's. It's like, oh, what the hell's going on? Where is everybody? Oh, here's some people. Wait, why do you look so angry? [00:18:30] Speaker A: Yeah. Because that's. I mean, again, that's another thing too is like after we have this instance in the church, we get introduced to Naomi Harris. [00:18:38] Speaker B: Yeah. [00:18:39] Speaker A: And her kind of partner. Not like, you know, romance like relationship wise, but just like her partner in crime to a degree. Who are like the only survivors that he is Cillian Murphy's run into. And to really just set, like to really dig into how dangerous the virus is and how it differs from the classic Romero take on a zombie is that, well, they run fast, they scream, they look terrifying. [00:19:07] Speaker B: Yeah. [00:19:08] Speaker A: And again, classic Romero zombies had moments of looking terrifying at the time, especially in Day of the Dead. Day of the Dead, I think is like the best makeup the zombies have in all three of those movies. But they don't have these bloodshot red eyes and they don't make like these, like these very screech feral. [00:19:28] Speaker B: The classic zombie popularized by Romero is, you know, it's, it's a. Feels like a reanimated corpse. Like A corpse puppeteered around by some force beyond this world. You know, they. They look dead. They shuffle around and in this. I mean it's all in the name the rage virus. They look pissed, they're screaming, their eyes are bloodshot, they're covered in blood. They're putting every ounce of effort into trying to rip you apart. [00:19:57] Speaker A: And the scariest thing, and it's one of the things I forgot rewatching because I've seen this movie a few times but this hasn't been, especially someone who loves zombie movies. This hasn't been a constant rewatch and apparently it's hard to rewatch it now. I think now, thankfully, with years later, I think that they're re releasing at least days. [00:20:18] Speaker B: Yeah. [00:20:18] Speaker A: I think it might be getting a 4k release. Which is hilarious because it's gonna look like. Because 28 days later hilariously does look like. Yeah. It's not only like the most iconic zombie film of the 21st century, it's also like the one of the films that shows like you can have something shot on a potato with a lens and yeah. Still captivate an audience. [00:20:40] Speaker B: Yeah. I mean not only is it an early digital film, it's like an early budget digital film. I mean the. Not the movie was super tiny, but it was like 8 million. [00:20:51] Speaker A: 8 million. Which is again small for Boil Post. [00:20:55] Speaker B: The Beach, but like deliberately shot on a low end camera because it feels. [00:21:02] Speaker A: More grounded, it feels more. You're engaged with it in a way where it's like they wanted something that was darker, something that seemed a little bit nastier, something more. I mean it's a joke now because we'll talk about later, but more of a boots on the ground. Like you're actually there watching things happen in real time. Almost like you're like a war journalist. [00:21:24] Speaker B: Right, right. It feels documentary style. [00:21:26] Speaker A: Yeah. [00:21:28] Speaker B: Without having to be documentary style. [00:21:30] Speaker A: Yes. [00:21:32] Speaker B: Yeah. This movie's so crusty. [00:21:34] Speaker A: It's crusty. And a lot of it is because of. Is it Andrew Don Mantle. [00:21:40] Speaker B: Yeah. The cinematographer. [00:21:41] Speaker A: Cinematographer. Because like in my head, and this is something where I think we both agree on this when it comes to like the best of this franchise, the, the starting foundation to it being like this is going to be something that I think is worth giving a lot into. It is if you have the trifecta of Boil, Garland and Mantle involved. Weeks does not have Mantle doesn't have DoD but. But like it still has Boyle. It still has Garland in producer form. And also Boyle does do I think like ad work. He. I think he shoots the opening of 28 weeks later, which is hilariously the best part of that movie too. The openings and the opening acts are like just popping in these first two films. But when, you know, Days introduces the idea of getting bit. It is just a shot in the arm, because what happens is Naomi Harris's friend gets bit, and immediately Naomi Harris cuts him down. [00:22:43] Speaker B: Yeah. [00:22:44] Speaker A: And kills him. [00:22:44] Speaker B: It's like no hesitation because there's. [00:22:46] Speaker A: Because, like, it is literally the fastest acting. [00:22:49] Speaker B: It is immediate. I mean, I. It's not been that long since I'd seen this movie before rewatching it for this, but I had forgotten how quickly the virus takes effect in these movies. Oh, yeah. Almost instantaneous. [00:23:02] Speaker A: It's. Yeah. [00:23:03] Speaker B: I mean, later kind of hilarious, like, because they do sometimes cheat that. And they'll have somebody get bit. And it takes a little bit longer for dramatic effect. But, yeah, like, I think this first, like when her. Her partner gets bitten, it's like very, very fast. [00:23:20] Speaker A: Yeah. Because it's. It's a lot of the. The. The crux of that. That kind of trifecta of those three of them is that Dodd has this look and feel with the cinematography that is like the fact that he can captivate you on a potato means, like, man, this guy could. If you just give him the highest of the highest kind of cameras, he'd just probably blow my ass off. And then you have Boyle, who is a director at this point, has done Train Spotting. He has done Shallow Grave. He did the Beach. He's. He's got some films under his belt. And with 28 days later, it's kind of like his rejuvenation of what he do he does next. Literally, after this, he does. He does Millions, which is like a kids film, but apparently is like, you know, a solid movie. And after that, he does slim dog in 2008, and then I think in 2010. 2011 is 127 hours. [00:24:19] Speaker B: Yeah. [00:24:19] Speaker A: Which are both. Which is an Oscar winner and an Oscar nominee. [00:24:24] Speaker B: Yeah. And Mantle shot all of those. [00:24:26] Speaker A: Yeah. Like, it's post days. Mantle basically is involved with most of Boyle's films post 28, except for Jobs, Steve Jobs. [00:24:36] Speaker B: Right. [00:24:37] Speaker A: And Yesterday. [00:24:38] Speaker B: No shade to Mantle, but Steve Jobs is a gorgeous movie. [00:24:41] Speaker A: Steve Jobs looks phenomenal. And I don't think anything Mantle could have done. Could have. I don't think Yesterday needs. Yesterday doesn't need what it should have been. [00:24:50] Speaker B: Crustier. [00:24:51] Speaker A: I don't think. Yeah. [00:24:52] Speaker B: I don't think anything shot on a full flip. [00:24:54] Speaker A: Yeah. I think. I think Yesterday was built as a 6 out of 10, regardless of what anyone could do. [00:24:59] Speaker B: Never gonna be anything else. [00:25:00] Speaker A: So it's. It's fine that he doesn't do that. But I mean, but he also has, I think, Dogville, an early Von Trier film. [00:25:07] Speaker B: He Antichrist too. [00:25:09] Speaker A: He does Antichrist. So he's. He's got a connection to larva. He also did, because I was looking at his cinema, like his filmography right before years. Because he comes back to do 28 years later, which already is like, yeah, let's go. I think he does a film called, like, My Daughter's Penguin. [00:25:28] Speaker B: My Penguin Friend. My Penguin Friend. [00:25:32] Speaker A: The poster is beautiful. The poster is the type of thing where it's. [00:25:35] Speaker B: That's just gonna be. That's gonna be the episode art for this episode. It's just the poster. But I want you to look it up. [00:25:40] Speaker A: But I want you to. Yeah, this is. This is gonna be now live poster ideas with Andy, where, like, it just. It should just be the 28 Days later poster. Because that poster is fucking iconic. Or at least the DVD cover. Cause I think the DVD cover is what introduces the eyes hovering over London, the hazard. [00:25:57] Speaker B: You know what we should do while we're talking about live thumbnail art for the episode? I'm gonna take a picture of your eyes and Photoshop them orange and put them over a picture of like, Indianapolis. And then I'll be walking alone in the street below you. [00:26:15] Speaker A: That's actually. Would be incredible. But I think regardless if all that's in the forefront, I just want like a small, like, translucent genre. No, with the penguin, it has nothing. [00:26:27] Speaker B: To superimposed on the back of the skyline. [00:26:31] Speaker A: Oh, my gosh. Just having a little fun. Because there's really not a lot of fun to talk, like, in terms of, like, what happens in the movie. The movie is entertaining and energetic. Yeah, it's phenomenal. But Garland as a writer, we haven't talked much about him on the pod because, like, I don't. The only thing we could probably do about him right now is like a rise of discussing his first three films. [00:26:55] Speaker B: Which is not now. [00:26:57] Speaker A: Well, yeah, well now because he's like. His first three films are Annihilation. No, it's Ex Machina. [00:27:02] Speaker B: You mean directing? [00:27:03] Speaker A: Yeah, directing Ex Machina, Annihilation and Men. [00:27:07] Speaker B: Right. [00:27:08] Speaker A: He has five films that he has directed. The other two were Civil War from last year and Warfare, like we said earlier. And Garland as a director, and I feel like, mindset wise, he is very cynical in an unders. In a sense where it's very understanding. I think it's very much. [00:27:26] Speaker B: Yeah. [00:27:27] Speaker A: It's the way that he sees, like, he writes is very fascinating. And I think when he is directing his own stuff, depending on what type of genre it is, it can be very uncomfortable. It can be terrifying. Like, I think, in my opinion, Annihilation is still my favorite of his, like, directed works. [00:27:45] Speaker B: Yeah, me too. [00:27:46] Speaker A: That has some horrifying shit in that. [00:27:48] Speaker B: Yeah. [00:27:49] Speaker A: But you also see in, like, men you see in Civil War, I've heard you see in warfare, there's a cheekiness that is definitely there that has, like, a bit of a dry British wit to it. [00:28:00] Speaker B: Yeah. [00:28:00] Speaker A: Especially in Civil War. There's some moments in Civil War, especially because I've get random Again, with YouTube, you get random algorithm clips of stuff. And like Civil War, there are moments where it's just like, this is like a very serious scene, but these people are taking it like, they're just like. Think the sniper scene in Civil War where it's like, we don't know who's in there. [00:28:21] Speaker B: Oh, yeah. [00:28:22] Speaker A: He's like, it doesn't matter if they're an enemy. It's. They're just shooting as. And the guy goes, guys, shut the fuck up. It's just like. There's this energy of just like a. He has this dryness to his humor and his, like, kind of look on life. And I think when he does his own films, there is a sense of dread and a seriousness to it that doesn't really see humanity in the best of light. [00:28:48] Speaker B: No. [00:28:48] Speaker A: But if you give him a director who I think has an optimism to. [00:28:53] Speaker B: Him, or most of Boyle's other movies, like, outside of these are pretty, like, not necessarily, like, upbeat. [00:29:03] Speaker A: No, no, no. [00:29:03] Speaker B: More optimistic outlook. [00:29:05] Speaker A: Yeah. This is a guy that does slum talk. Millionaire. [00:29:08] Speaker B: Yeah. [00:29:09] Speaker A: Literally, the film he does right after this is Millions, which is a children' yeah, like, he is. He is him. He fucking did yesterday. This man. This man, you see it now with, like, his 28 years later kind of press. Press stuff. He is. So he's just excited to make movies and I think has a hopefulness and an optimism to him, but is also. It is not a naive optimism, which I think is where they both blend well. Where Boyle can see where Garland's coming from, but is able to put in and pump in the emotion that is needed for those scenes, especially in the character stuff. [00:29:45] Speaker B: Yeah. It feels like Boyle sees the humor in Garland's cynicism. [00:29:50] Speaker A: Yes. [00:29:51] Speaker B: And, like, plays with that while also, you know, giving the characters enough humanity to feel drama and that sort of Thing. [00:29:57] Speaker A: And they also have two British. Two British boys just making some very. Some punkish, like, take on Zombies that is just, like, unwavering at times, unfaltering. And how it's just like, you know, there is no sentimentality in this world anymore. So, like, if someone gets bit, you're fucking dead. [00:30:17] Speaker B: Yeah. [00:30:17] Speaker A: And then later, it kind of even retroactively changes that when later on, Naomi Harris and Killian Murphy meet Brittany Gleason. [00:30:26] Speaker B: Right. [00:30:26] Speaker A: And his daughter. [00:30:28] Speaker B: That exists in the world. Yeah. [00:30:29] Speaker A: And they have, like, a dynamic that feels almost like a father with his. With his children. And then, of course, Brendan Gleason cannot help but look up and then gets a little bit of that rage in his eye and then gets fucking shot down immediately. [00:30:44] Speaker B: Yeah. [00:30:44] Speaker A: And it's in that moment where he dies, where it's like, you understand, this is how he should. This is how he should go. Because if he doesn't die now, it's just going to, like, it's going to hurt them entirely, could kill them. But, like, he needs to go. And then when he dies, it has this energy of, like. This is not the same as when Naomi Harris's friend dies, where it's like, yeah, he does. He does get killed immediately. It is kind of like a merciful. Like, we don't want them. We don't want your dad to be running around tearing people to shreds. But it has a different energy now that we're like, fuck. In classic, like, perfect, like, screenwriting fashion. When we get introduced to that idea, it's to a guy we have no connection with, barely. He's just like, oh, thank God, someone who speaks. [00:31:29] Speaker B: Yeah, Right. [00:31:29] Speaker A: And then when we get Brendan Gleason's death, it has this energy of like. [00:31:32] Speaker B: This guy we've seen was like the last nice dude. [00:31:35] Speaker A: He literally had, like, his makeshift, like, riot gear armor. He was this. [00:31:40] Speaker B: So cool. He was the opening scene. [00:31:42] Speaker A: He's so optimistic and is trying to keep everyone's spirits high, including his own daughter, even though there's no real hope as to what to do. He's one of those people that are just like, hey, there's a military kind of like, transmission going through the radios. They might be the only chance, like, they say civilization is still, you know, surviving in certain places. We should go there. He's the one that kind of is like, giving everyone the purpose to keep going. Because Naomi Harris is kind of like, in this pit. [00:32:12] Speaker B: Yeah. [00:32:13] Speaker A: Of despair, where she's like, everyone I know is dead, basically. Now I'm just stuck with this Fucking bike messenger who I just met. [00:32:20] Speaker B: Yeah. [00:32:21] Speaker A: Then Killian Murphy's just like, I. You know, I've been awake for 13 hours. I don't know what the fuck is going on. [00:32:27] Speaker B: Yeah. [00:32:27] Speaker A: And so Gleason is the one that is basically like, all right, this is what the plot's gonna be. And it's like, you know what? I dig it. I like this crew a lot. And then basically from that point forward, the dynamic is Gleason leading the pack to an extent, his daughter being support. And then, like, is it Alex? Is that Killian Murphy's character's name? [00:32:48] Speaker B: I think, but, like, Jim. [00:32:51] Speaker A: Jim. Oh, that's why. Okay. [00:32:53] Speaker B: Yeah. [00:32:53] Speaker A: Well, Jim is basically is kind of becomes a little bit of comedic relief in terms of just like. Because, like, when they go to the tunnel where they're like, we should take the tunnel. Because the thing about Brennan Gleason's character that's awesome. Is that to give it some kind of, like, you know, more of a groundedness is that Gleason, before everything went to shit, was a cabbie driver. [00:33:15] Speaker B: He was a captain. Right, right, right. [00:33:17] Speaker A: So, like, he knows all the roads. [00:33:18] Speaker B: Yeah. [00:33:18] Speaker A: So he knows how to get everywhere. And so at one point, they're like, let's take a shortcut. Or, like, let's take the way through the tunnel that weighs best. And Jim's like, oh, I don't think that's the best idea. And then they go through the tunnel, and Jim's like, gee, I wonder who fucking said we shouldn't take the tunnel. [00:33:31] Speaker B: Yeah, right. [00:33:31] Speaker A: And then leads to this intense moment where, like, they're stuck and they have to change a tire before all the zombies eat them and he has to drive over a bunch of cars. And. [00:33:42] Speaker B: Yeah. [00:33:43] Speaker A: You know, at least these moments were like, you know, you have all these characters who have been awake this entire time since the fall of British civilization. Fall of Britain, because, again, we don't even know how far this virus has gone. So you have, like, these. These people are like, this is probably the end of, like, modern civilization, at least for us. [00:34:05] Speaker B: Yeah. [00:34:05] Speaker A: So the fuck do we do? And then, like, you have someone who is 28 days behind, and so it's fun to have him be basically the insert character for the audience as we're all figuring out together and building these relationships with these characters and also, you know, realizing that, like, Brendan Gleason's like, listen, I can see that you probably have a thing for Naomi Harrison. You're trying to figure out what you want to do. Like, it's the end of the world, man. I don't know what, like, you can only do so much. Like, you just, like, you might as well go for it or just, you know, be ready. They're like, you have to survive. [00:34:40] Speaker B: Yeah. [00:34:41] Speaker A: And I think, like, it leads. It's one of those things where, like, when that kind of energy happens. And then, of course, I think leads to another phenomenal moment in the film, which is Jim's first kill in the movie, which is a child, which is like, again, that is something where it's like, props to Garland for being bold enough. You don't see it, but it's enough to be like, you know, having. Being in a zombie apocalypse and having your first death be a small child is like, that is going to shake. It's gonna shake you in a way that is just like. Yeah, I don't know if I want to. I didn't want to kill anyone before. I don't know if I really want to keep doing that now. [00:35:24] Speaker B: Yeah, right. [00:35:24] Speaker A: So which leads to, again, like, Jim's biggest thing, kind of ultimately becoming, like, everyone asking Jim, what do you want to be in this new world? Because everyone's had 28 days to kind of figure out, in their sense, what they want to be with, like, Brendan Gleason's daughter, I think having the only other excuse to being, like, she just wants to be with her father and be safe. And then, of course, when she's not getting that, she's kind of in a fugue state for a solid part of the back end of the film. Naomi Harris is kind of, like, accepting the fact that she is going to die at some point and doesn't know when. But, like, doesn't want to admit that she's scared and doesn't want to, you know, have any connections to anybody else because she doesn't want to lose any more people. And then Jim ultimately becomes like, do you have what it takes to just survive in general? Which ultimately leads to his change in the third act, where he basically fights to survive. And the way that he fights is he basically fights like a zombie. He is, like, basically guerrilla tactics to a sense. Fights like a zombie, uses tactics to, like, basically make everything work in his sense, and then fights in a. It fights in a way that makes Naomi Harris and Gleason's daughter not be able to discern whether that is Jim, a normal Jim, but just covered in blood. [00:36:48] Speaker B: Right, right. [00:36:49] Speaker A: Or Jim being turned into a zombie, which I think is a phenomenal thing, because, again, ultimately, what the third act gets into of the film is that like most. The best zombie stories. And we will get into it more, I think, with years, because years definitely understands this as well. But like, zombie stories, the zombie stories that really stick are not about the zombies themselves. [00:37:14] Speaker B: Right. [00:37:14] Speaker A: The zombies are like the lit match. [00:37:18] Speaker B: But what really incident to get all these. [00:37:21] Speaker A: The powder keg that really should explode at the very end. The thing that should really grab you is how do we. Humanity or these certain subsection of people that are survivors using these traumatic experiences, collective traumatic experience. [00:37:37] Speaker B: How do we respond? [00:37:39] Speaker A: Yeah. [00:37:39] Speaker B: In such dire scenarios. [00:37:41] Speaker A: And you know. Yeah. And it's one of the reasons why, you know, with something like why the Walking Dead, I think grabs so many people at its best moments, because the comic and the show would really just like, you know, those, those. Basically the show was just built at certain points just to have cool zombie kills and just like have zombie kill cams to an extent. But those, The. The stories thrive the most in how much you care about those characters. [00:38:11] Speaker B: Well, and the interpersonal drama. [00:38:14] Speaker A: Yeah. [00:38:14] Speaker B: Like the villains and, you know, how the human characters navigate their various dynamics and hierarchies and social structures. [00:38:24] Speaker A: Yeah. Because the. The big. The big twist, if you could call it that in the third act is basically they find the military. The military put down Gleason when he becomes a rage zombie. Because they success. They find the military just at the same time as when they lose Gleason. But they. They find the military, which is what Gleason wanted. [00:38:42] Speaker B: Yeah. Or at least they find like subsection. Yeah. Like a unit that has set up for themselves. [00:38:49] Speaker A: Yes. [00:38:49] Speaker B: At least. [00:38:50] Speaker A: Led by Christopher Eccleston, fortified a mansion. Led by Eccleston, who is just an actor. Anytime I see him, I'm like, all right, we're in. We're in for it. And we get this, you know, this. This kind of feeling of like the film wants you to be like, ah, yes, they should be safe now they're with the military. [00:39:11] Speaker B: Yeah. Well, it's kind of like the. That, you know, they. The film has its like, upbeat pitch shortly before Frank's death. [00:39:19] Speaker A: Yes. [00:39:20] Speaker B: Everybody's happier. And they've kind of formed this sort of surrogate family. And the shopping cart scene within Frank is. Frank's death is the kind of like trial by fire. But okay, now they've gotten to where they were trying to get. [00:39:33] Speaker A: Oh, yeah, this is a zombie apocalypse. [00:39:35] Speaker B: Yeah. But we were having fun in losing Frank. We found what we were after, which was this military. [00:39:41] Speaker A: We got to go shopping without paying for anything. We got to go camping with dad yeah, fortunately dad just got shot blown to bits by a bunch of guns. [00:39:49] Speaker B: We got to test the limits of this digital cameras contrast ratio. [00:39:54] Speaker A: Yes, but what's. You know the thing that is most interesting about talking about 28 days later today is that usually when people talk about like their flaws about the film or when people just talk about how much they love this movie, there's one aspect that seems to be kind of the pointing contention or the thing that is forgotten constantly in the conversation and that is the third act. Because the thing is, is this film. While the first two acts. The first hour of this movie is mainly about surviving the zombie apocalypse. Trying to find another sense of like life that is out there that isn't. [00:40:29] Speaker B: In London survival drama. [00:40:33] Speaker A: The third act basically becomes they find a military group that is all men that are supposed to be trying to help rebuild society in some way, shape or form. And it turns out that Christopher Eccleston is just absolutely bullshitting everybody on the radio. He just wants to pull in survivors, specifically female survivors to give his men like sex slaves. Yeah, basically. Which is unfortunately things that have happened in the real world with actual militaries in other countries. And it is things that have happened in controversies across the world about. That is not. That is where. Oh that's right. Humans still suck. [00:41:17] Speaker B: Yeah. [00:41:17] Speaker A: Where it's like most zombie stories, not only does it revolve around the humans, but it also usually they have this idea like having to make it interesting. The fact that it's like yeah, just because humanity is collapsing and there's a post apocalypse and there's less and less people. That doesn't make the shitty people any less shitty. In fact it gives them more. [00:41:39] Speaker B: Yeah, least more makes them more desperate. [00:41:42] Speaker A: Makes them more sometimes more altruistic in the worst way. You know, maybe they become a cultist or something like that. And plenty of stories where it's like, you know, the whole thing about the walking Dead hilariously is the. The fact that the big line that is front like we are the walking dead. It is about this like humanity itself is just kind of like lumbering along at this point. Either either figure out what the fuck is going on. Which is not usually the case for normal people trying to live a post apocalypse. Or you just try to figure out how do you. How do you adapt and survive. And a lot of people adapting means taking advantage of the moment at hand. And so the military starts. The military is the enemy, is the antagonist for the third act. They basically, you know, Jim tries to retaliate, but dream Jim again Killian Murphy is a phenomenal actor. I would not want to have a fight with this man. Even back then. I wouldn't want to. He's, he's, he has a scrappy energy to him. [00:42:41] Speaker B: Yeah. [00:42:42] Speaker A: But compared to everybody else that is in the military, he lists, he looks, he's a bike messenger twink that is like he's outwardly said he's not willing to kill. He doesn't want to kill anybody. He will if he has to survive, but he would rather not to. [00:42:59] Speaker B: Yeah. [00:43:00] Speaker A: And so he's saying that to the leader of a group of people who will no doubt mow down someone if given the order. And so now we have a group of, of soldiers that, you know, Jim must, you know, come. Come up like, come up against. And ultimately, like I said, the way they get around that is that he just starts using guerrilla tactics and becoming. Acting like a rage zombie almost in order to get into their minds, scare the out of them. [00:43:29] Speaker B: Yeah. Well, and he like, he even puts their, their resident chained up zombie to use. [00:43:35] Speaker A: Yeah. [00:43:36] Speaker B: Like a zombie soldier on a chain and he releases him to go. [00:43:40] Speaker A: And it also has that scene where it's like. Yeah, that's like Eccleston shows that he's not only just like taking advantage of like survivors with desperate times, he's also fucking crazy because in that scene where they introduce that soldier who is now a zombie, I believe he says that he can tell what the zombie is thinking and saying. Like he's. The zombie is speaking to him in a way. [00:44:02] Speaker B: Yeah. [00:44:02] Speaker A: Like you can see in his eyes what he's saying. [00:44:04] Speaker B: Right. [00:44:05] Speaker A: And it's like, oh, okay, you're not okay. And I think the thing that makes this part of the movie my least favorite part and why I don't think this movie is like perfect. I still think this movie is great is the fact that I think like even in 2002, like if you're, unless you are not at all versed in horror at all. Especially zombie. [00:44:26] Speaker B: Yeah. [00:44:27] Speaker A: Like zombie cinema or like any kind of thing involving zombies. Like I think if you go into this movie knowing what a zombie film is or liking zombies and being like, this is a new type of zombie film, if you get to this moment, I don't think anyone is going to be shocked when you find out, oh gee, these guys with guns that feel like they're just full of testosterone and nothing to shoot. [00:44:47] Speaker B: Yeah. [00:44:48] Speaker A: Are not good guys. [00:44:50] Speaker B: Right. [00:44:50] Speaker A: And they really just want to take advantage of Naomi Harris and this underage girl because that's the only females they have. What a shock. Like, I feel like. [00:45:00] Speaker B: Yeah. [00:45:00] Speaker A: I mean, Day of the Dead basically has soldiers that are supposed to be like kind of seen as like helping the scientists that are trying to find a cure. But they're like absolute fucking douchebags from the beginning. So it's like the, the military being the bad guy in a zombie film is not surprising. No. And it has happened before in the past and I think it's like classic zombie cinema to be like, hey, guess what? The government doesn't give a fuck about you in a post apocalypse. [00:45:27] Speaker B: Right. [00:45:28] Speaker A: Let alone the military. [00:45:29] Speaker B: Yeah. [00:45:30] Speaker A: Like it's. So that part I think is like, it's like, I do think that part absolutely works and it is still uncomfortable and it's just, you know, it's heartbreaking. Especially when Naomi Harris gives Brennan Gleason's daughter a bunch of medicine to basically not like to either help her overdose or basically help numb the pain for what is no doubt in her mind think that they're about to get sexually assaulted. [00:45:57] Speaker B: Yeah. Right. [00:45:57] Speaker A: They're about to get raped. And so they're like, they, she is prepping her so she doesn't have to deal with those consequences of having those memories. And I can understand that being like a lot of people being like, I was just here for zombies, what the fuck is this? But I think, I think my biggest. Yeah, my biggest issue with that, I think is the fact that it's like, I don't think it's that surprising in the third act when that turn is made. And also I do think the film does slow down. [00:46:22] Speaker B: Oh yeah. When this happens. Well, yeah. Like leading up to. Basically once they get to the mansion, it feels like the momentum kind of. [00:46:30] Speaker A: Screeches as soon as they. As soon. Because again they have like Brennan Gleason's cab is how they drive to the military base. [00:46:39] Speaker B: Yeah. [00:46:40] Speaker A: That has all their stuff, all the stuff they got from the grocery store and everything. And they drive it to the mansion. The military has. When the military is just like doing donuts in the front yard with that truck, it's like, yeah, how do you trust these? And there's still a decent amount of time between that scene where it's going to be like, oh, they're just having fun. [00:47:01] Speaker B: Yeah. They spent quite a bit of time in the mansion. Yeah. [00:47:04] Speaker A: Because there's also a soldier there. I can't remember his name, but he is a. Against what Eccleston wants to do. He completely is not aware of what Eccleston is trying to do. And he doesn't like that. Then of course they kill him. [00:47:18] Speaker B: Right. [00:47:19] Speaker A: They kill him when they were supposed to kill Jim and then they missed. I brought this up with Adam when we watched it, but in our friend group there is a notorious film called In Fabric. It is a film that has been watched for many years, specifically around Halloween time. [00:47:38] Speaker B: Yeah. Emma and I have hosted yes. In Fabric. I've only seen five Halloweens in a row. [00:47:44] Speaker A: I've only seen the film once and I won't say why it led me have an existential crisis, but it did definitely lead me. It was the only time in a while I've. It's the only time I think ever I had to read the Wikipedia description of the plot because I thought I was making it up in my head. [00:48:02] Speaker B: Yeah, it is that kind of movie. [00:48:03] Speaker A: Yeah. [00:48:04] Speaker B: It makes just little enough sense that you're like, is that really what happened? [00:48:08] Speaker A: But there's a character in that movie, he said he's a cursed character, in my opinion. His name is Reg Speaks. [00:48:13] Speaker B: Reg Speaks. [00:48:14] Speaker A: He is, he is a big. He's. He is a notorious character in our friend group. Yeah, he is in this movie. And as soon as he shows up, because he basically plays. He basically plays the quote unquote woman of the military group. Like, he's the least testosterone. [00:48:34] Speaker B: Like, yeah, they like put him in drag and. [00:48:37] Speaker A: Well, they put him in a. They put them in basically like a Buzz Lightyear made dress. [00:48:41] Speaker B: Yeah. [00:48:42] Speaker A: Like a bib. [00:48:43] Speaker B: Right. [00:48:43] Speaker A: And they ask him to make food and he can't make food for cook shit. Because in their heads it's like, oh, if society is collapsing, let's go back to classic quote unquote, classic gender norms, which is the woman does the cooking while the men eat and go hunt. And since they have no woman, they just make him do it. Also, that same actor is Alice's husband to be in Tim Burton's Alice in Wonderland, which is why his face looks so familiar, because of both in fabric in that fucking Tim Burton, Alice in Wonderland. His. His pasty iconic look. But yeah, that was just something funny when I was watching, I was like, that's fucking Red Speaks Adam, Leo, Bill. Yeah. And he is probably the. The. I guess the comedic. Yeah, he's the most comedic of all the. The soldiers. [00:49:36] Speaker B: Yeah. [00:49:36] Speaker A: I mean, his death is silly how he basically just like screams like shaggy and runs away and then kind of just gets fucking eaten. Yeah, I believe he gets eaten by the zombie soldier because like Jim, basically, Jim gets all like kind of Arnold Schwarzenegger and Predator muddy or like random muddy and Then just gets back, he breaks the chain on the zombie soldier. And the zombie soldier goes berserk in the mansion. Jim saves Naomi Harris from, like, the one soldier that was like the biggest point of contention, right? Like the biggest antagonist of them all to her. And Jim, he just bashes his. His fucking head in a wall like a rage zombie again, the way the gym is playing brutal again. Another thing we haven't really brought up yet, and it's something that is very prevalent in Weeks specifically, is that most of the film, where a lot of big moments are happening, there is basically a 28 days later theme. Like, there's a theme in the film that is like, very prevalent, I think, in the beginning of the movie in the music. The music. [00:50:44] Speaker B: Yeah, there's like, there's motif. [00:50:46] Speaker A: Yeah, there's like a theme song almost of 28 days later that is used ad nauseam in weeks because it's like, I guess, the most iconic musical cue in the original film. And then one of the most iconic moments of using that theme is when Jim is going ham on this military soldier, on this army soldier. I think also with the end of the film, like with Act 3, I think one of the other point of contentions is that it does have this energy, especially with the epilogue of the movie, of, like, it's not entirely what the original movie wanted to be. Like, rumor. Rumor is. And again, we didn't see this movie in theaters when it first came out because we were both children. [00:51:28] Speaker B: Seven years. [00:51:28] Speaker A: Yeah. We were both young. But apparently this film, when it was released in theaters, had two separate endings in different theaters. The one that is on most releases now, I think is the one that was. It's the happiest ending. [00:51:42] Speaker B: Yeah. Yeah. [00:51:44] Speaker A: Hilariously, it's. I think it's. It's the weirdest thing because it is an ending where it's basically like, even though the third act, the military are the enemies in that sense, it ends with Naomi Harris, Gleason's daughter, And Jim, another 28 days later, trying to contact anybody. So they make like a little hello Quilt has this great scene where they're hell. Because they haven't put out the O yet. Just says hell upside down, which is fantastic. Love that shot. But they see, like, a military fighter jet and they're excited that the military fighter jet saw them. And it's like, it wasn't a month ago. You just kind of like trusted the military and you kind of. That clearly feels like if that wasn't a choice that was made post, like, listen, guys, like The States are like the. The war on terror and shit is happening over there. And like, it's maybe give it a bit of a happy ending. And also maybe you can keep the whole, like, you know, this, this. These militaries, these, these soldiers took advantage of their power and are the villains. But, like, don't make. Make it seem like not everyone is like that. Right. Because I really. That film would have gotten a lot harder if, if not for 9 11. [00:53:02] Speaker B: I'm just probably. [00:53:03] Speaker A: I think it would have probably just been like, yeah, don't trust the government is. You cannot. Like, you couldn't trust the government before, you shouldn't trust it now. Kind of. That seems like something Garland would do in a heartbeat. But yeah, the film ends on kind of this happy note where, like, when Jim and Naomi Harris with the trio were trying to leave, Eccleston stabs Jim and then Eccleston gets pulled out of the cab. It gets annihilated by the rage zombies, specifically. [00:53:35] Speaker B: Isn't it the one who was chained up? Doesn't that one get him? [00:53:38] Speaker A: I think possibly, yeah. I think him as well as his men, I think whoever's been changing. And then you have Eccleston just yelling, which is great. And then they drive into the gate that is shut. And then it has this hard, I think, freeze frame cut that goes really bright. And then you see flashes of Naomi Harris trying to save Jim after the stab or like the shot. And then it's just like, I think in some theaters, Jim just dies. [00:54:09] Speaker B: Yeah. [00:54:09] Speaker A: Other, like, other endings. And then the ending that I think most people got is when Jim wakes up 28 days later and they have like, a little cottage in the countryside, right? And they try to just fight anyone who sees their little sign and fighter jet sees their side and, like, maybe that'll do something. [00:54:27] Speaker B: Right? [00:54:28] Speaker A: And also, I mean, again, the film is. There's no way what is happening in 28 days later is like Garland and Boyle being like, maybe we could get three out of this. Like, again, this is just like, this is a project that is very much like Boyle wants to do something that is low budget, that is something that is just like. Feels like he has a creative tie to more so than probably his last project. And Garland is like, his time to shine as a screenwriter outside of being a novelist. And like, they're definitely doing their absolute best. And it pays off because, I mean, and genuinely, genuinely, like, in terms of the Mount Rushmore of, like, horror, especially in like 2000s, like in Zombie horror and even in. Even in just like the 2000s in general, horror, 28 days later should be on the Mount Rushmore of each because it kind of revitalized zombies in natural cult in, like, the pop culture. And then in 2000s horror, it made people go, oh, shit. So this is what. This is what horror looks like in the new age. Like, because by this point. [00:55:36] Speaker B: Yeah, because, I mean, it does. It feels that especially that. That the photographic look of the film and the tone and the score all feel very modern, very of that time. [00:55:49] Speaker A: There's a dramatic kind of cadence and just like this foreboding nature to the. To the score. The film is crunchy in the right ways. Like Andy said, like, there. [00:56:00] Speaker B: It's punk rock, like you mentioned. Like, it's. It's very irreverent and cruel and crass. [00:56:08] Speaker A: It's the guy making trades around the edges, the guy from Trades party making a zombie movie. And it's. [00:56:13] Speaker B: And it's. And it's fascinating and kind of funny watching that movie today, you know, after the kind of new wave of zombie media that this movie is basically responsible for. Yeah, it is funny watching this movie because it's easy to be like, oh, every scene in this movie is a cliche. Because it became a cliche after this movie. Which is not to say that this movie isn't lifting things from the classic zombie movies, but, like, it's almost beat for beat. It's like, wow, I've seen, like, half a dozen zombie movies that came out since this. [00:56:53] Speaker A: With the exact plot of this, literally two years after this movie is Snyder's dawn of the Dead. Yeah. [00:56:59] Speaker B: And it's. [00:56:59] Speaker A: We've talked about. And it's very clearly, like, Even though it is. Even though it's very American. Yeah, it's very American. And it's very much like. Because the politics of 28 days later I think, are just very impactful and very phenomenal without being in your face as much. Yeah, well, as in dawn of the Dead, Snyder does. Snyder has the subtlety of, like, a baseball bat to a brick wall. [00:57:25] Speaker B: It's Bush's America political commentary. [00:57:28] Speaker A: There's nothing wrong with that either. And again, there's nothing wrong with, like, if you're somebody out there. Whereas, like, I think I kind of love the third act the most. Like, that's great. I just think, personally, like, that first act, that first 40, like, the first half of the movie, I am just, like, on board. And then when the third act comes in, I'm like, this is still good. I think it's really great in places. But as Someone who's seen enough zombie movies, it's not surprising that it's like, oh my gosh, the military's the bad guy. [00:57:57] Speaker B: Well, it's not really, you really have to. If you're doing a zombie movie or really any horror movie where like you spend most of the movie facing the, you know, the, the poster child threat of the movie, you're out in London dealing with zombies, blah, blah, blah. And then you end your movie in a little mansion running from military soldiers. It's kind of like you really got to sell that. Like you, you know, I really have to care about all of these things that are going on. [00:58:27] Speaker A: There's this character, there's the floodlight scene in 20 in like the mansion where they have the floodlights that hit like certain. And that's fun. But yeah, I mean, again, in the span of two years, you have what I would say is like, I think 28 days later ends up becoming the big export from the UK in terms of just like international horror. [00:58:50] Speaker B: Yeah. [00:58:51] Speaker A: When it comes to iconic horror on an international sense, in the span of two years, we have the most genre defining change to zombies in a sense that makes sense for the new century. And then two years later, we have a director making a nostalgic look back at Romero in the cheekiest, most funniest way possible, in a British sense. Which is of course Edgar Wright's shot of the Dead. [00:59:18] Speaker B: Yeah. [00:59:19] Speaker A: And then in that same year was Shauna. That is when you have Snyder doing Dawn of the Dead with, you know where he goes. I would like two different versions of down with the Sickness and he gets both versions. But I mean, but 28 days later, it just basically goes from an 8 million budget to like making 10 times that worldwide. [00:59:40] Speaker B: Yeah. [00:59:40] Speaker A: And as a film that is basically like, all right, people fucking love this. What else do you want to do? And then boil again after this point is just like, I want to go make this. And just like, you know, I think that both him and Garland are satisfied. [00:59:55] Speaker B: Yeah. [00:59:56] Speaker A: With what they do with Days. [00:59:57] Speaker B: Right. [00:59:57] Speaker A: And because Garland does other stuff. Garland does Never Let me go. I think like three or four years after this movie comes out. [01:00:06] Speaker B: Yeah. They work together. Sunshine. [01:00:10] Speaker A: Sunshine as well. Sunshine is the next time Killian Murphy, Alex Garland and Danny Boyle come together. Which is a film I still need to see. [01:00:19] Speaker B: Yeah, I haven't seen it either. [01:00:21] Speaker A: That is a movie that screams. If there's any movie that screams, I love this movie. And Andy thinks it's all right. I could see Sunshine being that case. [01:00:31] Speaker B: I hope not, because I've known about that. I think I saw clips of that movie when I was Fairly Young on YouTube. Wow, this is fucking rad. [01:00:41] Speaker A: It does look rad from the clips I've seen. [01:00:43] Speaker B: There's a piece of music from that movie that is one of my favorite pieces of music ever. [01:00:49] Speaker A: It's been used in a fuck ton of trailers since then. [01:00:52] Speaker B: It was also in. I think it was in Wonder Woman 84, the actual movie. [01:00:57] Speaker A: That's right. [01:00:58] Speaker B: It was like a rearrangement of it. But it's the same song. [01:01:01] Speaker A: Yeah, but, yeah, I know that film has a controversial third act that I would. Yeah, that. Because I think when most people talk about Sunshine, it's almost. It's actually hilariously, with Garland, A Boy to Judge. It's very similar to 28 Days where it's like the first two acts, but. [01:01:18] Speaker B: This is what we're going to do. [01:01:19] Speaker A: But that third act, I've heard some people be like, this third act fucking sucks. And I'm like, damn, that, that, that. Bit of a contentious point on that. But yeah, we definitely. [01:01:27] Speaker B: I didn't know that was as hotly on your radar as it was mine. So we have to watch that. [01:01:31] Speaker A: We should. Because again, Boyle in general, especially when we talk about years a little bit later, is like. Makes me go like, fuck, what? Haven't I watched a Boyle in a while? Because it's like, I still. Because I still need to watch T2 transponder to. Yeah, I still. I would like to watch his earlier stuff, of course, like Shallow Grave, which is like his first film, I think he did with Ewan McGregor. [01:01:52] Speaker B: Yeah. [01:01:53] Speaker A: And Christopher Eccleston. He has. I mean, because I love. I remember loving Slumdog Millionaire when I first saw that movie. [01:02:01] Speaker B: Yeah, I haven't seen that. [01:02:02] Speaker A: That was hilariously an Easter present to me. That was the type of kid. That's the type of person I was. My parents, my grandparents, I think were like, you like movies. And this was an Oscar winner. Here's Slim Talk. And you know what? They weren't wrong. That was. I really enjoyed that movie. I've heard 127 hours is good. [01:02:19] Speaker B: Yeah, that was a movie I've. I'm not like actively avoiding it now, but I avoided it for a long time because I. Of how brutally violent that the signature scene of that movie is. [01:02:31] Speaker A: Yes. [01:02:31] Speaker B: But now I'm curious about it. [01:02:33] Speaker A: And then I've grown up and then even though I have seen. I have seen the Seth Rogen Fassbender scenes ad nauseam randomly through YouTube, I've never seen Steve Jobs in full. [01:02:46] Speaker B: I like that movie. [01:02:47] Speaker A: I love Fassbender and I love the idea of Boyle doing a Sorkin script because we were talking off mic. Sorkin doing his own scripts is really a monkey's paw as we're recording this. [01:03:03] Speaker B: Social Network 2. [01:03:04] Speaker A: Yeah. Social Network Part 2. And I was constantly making jokes that they're just gonna. It's just gonna be about the 2020 election and they're never. They're not. There's nothing to talk about with Facebook between where the first film ends and where we're at now. Unless you talk about that stuff. And of course, Sorkin is, I think, writing and directing that. [01:03:23] Speaker B: Yeah. [01:03:23] Speaker A: And. Oh, man, let's. Let's hope it's not being the Ricardo's Sorkin and more just. [01:03:31] Speaker B: Yeah. [01:03:32] Speaker A: Closer to Molly's. Because I remember liking Molly's Game was. [01:03:36] Speaker B: Yeah, I didn't dislike it. [01:03:37] Speaker A: I like Michael Sarah's impersonation of Toby Maguire. That was my favorite part of that. [01:03:42] Speaker B: Yeah. [01:03:43] Speaker A: Or sorry, not Toby Maguire, because it's not supposed to. [01:03:45] Speaker B: It's not. [01:03:46] Speaker A: No, totally not. [01:03:46] Speaker B: Definitely not. [01:03:48] Speaker A: But yeah. After Days Boil has other projects that he goes into. Garland has other projects they go into just. Even would. Even without Sunshine being into that kind of situation. But suits, the suits need more. Listen, you give a studio a film, you get a film, you make 10. [01:04:06] Speaker B: Times your budget, you're gonna get a knock on your door. [01:04:09] Speaker A: Not only do you make 10 times your budget, you make 10 times your budget and you're a horror film. [01:04:12] Speaker B: Yeah. How the fuck do we not have reinvented Dead genre? [01:04:16] Speaker A: How do we not have 18 days later films at this point? Like just. [01:04:20] Speaker B: Yeah, it is kind of amazing that. Yeah, we only got our third one. [01:04:25] Speaker A: I think a lot, but I think a lot of it too, though. I think it's the most genius thing. I think it's because. Because it was so low budget, Boyle, Garland and I think Mantle, I think they all were able to keep the rights in some way, shape or form. So, like, if they're going to. If like a studio is going to do, you know, a 28 something, they have to work with them in some way, shape or form. Which is why when we get to the sequel to Days later, which what comes after days 28 weeks later, when we get to weeks later, 28 fortnight later, we don't have Boyle directing, we don't have Garland writing. But they're both producers on the film. Boyle apparently directed the opening of Weeks later, which is hilarious to think considering Days as Best stuff is in the beginning. And now the best stuff in this film that doesn't have Boyle as a director is in fact the one scene. Yeah, I think he directed. And it's also funny to think that with Weeks, it has a Boyle veteran in his films. Robert Carlisle, who most people would know is John Lennon. And yeah, I'm just kidding, he's in Trans Potty, but he is John Lennon in Yesterday. Spoiler alert. [01:05:35] Speaker B: In case you didn't know, he's also God. Is he Rumpelstiltskin in Once Upon a Time? That like, Long running fantasy. [01:05:46] Speaker A: I need you. [01:05:47] Speaker B: ABC tv. My wife watches. [01:05:49] Speaker A: I was just gonna say. I was gonna say I need you to be honest with me. Would you have even pulled that out of your ass if it not? [01:05:54] Speaker B: No, but that show has a big following. It does, and he's a major character. Shut up. [01:06:02] Speaker A: You know what's funny, though, is I see. I'm not even doing that because you'd be embarrassed. I've seen episodes of that show. So it's more just like. I know what it's coming from you, though. [01:06:11] Speaker B: You know me. And you're like, andy doesn't watch that show. [01:06:14] Speaker A: I was like, if Andy's ever watched that, he's been tied to a chair while his wife watches that episode, waiting. [01:06:20] Speaker B: Patiently to use the PlayStation while she watches. [01:06:24] Speaker A: Honey, can you play any switch? I don't want to watch Once Upon a Time anymore. [01:06:29] Speaker B: Yeah, she has an iPad now. She can watch it there. [01:06:32] Speaker A: Beautiful. But 28 weeks later, I mean, going into a sequel to a film that is so monumental for a genre as well as, you know, so popular as compared to, again, I know $80 million doesn't seem like a lot, especially when it comes to where we're at now, when it comes to the horror genre, where it comes to like, you know, the Blum house model of like an 8 million dollar should make like 160 million or some shit like that. But at that time, though, it is fascinating to think that 28 days later, being a film that really is not interested in like setting the ground rules fully for like, lore stuff, or like, this is where the film could go further into it other than, like, I guess we could come back to Jim and Co and see what they're up to. [01:07:27] Speaker B: Yeah. [01:07:28] Speaker A: The only thing that really kind of like you can grab onto is like, maybe they could really elaborate more on this is that there is a running rumor, slash theory amongst the soldiers that the Rage virus. Yeah, yeah. That the Rage virus only hit the uk, Right. That other Other countries are fine because the longest time, you know, there are no ships coming out of the uk, no trains, no cars, unless you're lucky enough to find someone who has a car and is still driving is not a fucking zombie. [01:08:02] Speaker B: Yeah. [01:08:03] Speaker A: And for the longest time, I think there's at one point either Naomi Harris or someone says, like, there are no planes in the sky. [01:08:09] Speaker B: Right. [01:08:09] Speaker A: And then the third act of days, you see, Jim sees a plane and that gives him a. Hilariously, that gives. That is enough to give him the hope to persevere. Because it's like, if there's a plane in the sky, then, yeah, there's somebody. [01:08:21] Speaker B: Somebody's fucking sending these planes up. So maybe somebody somewhere has resources. [01:08:26] Speaker A: So maybe this. This pandemic that's hit in 28 days has only hit this section. [01:08:33] Speaker B: Yeah. [01:08:34] Speaker A: And so 28 weeks later is basically about Americans coming in, helping quarantine sections of London to basically try to help jump start civilization again. [01:08:50] Speaker B: Yeah. I think in. Yeah. In the uk, I think Weeks's most interesting kind of concept that it brings to it is giving you a broader sense of what has happened. [01:09:03] Speaker A: Yes. [01:09:04] Speaker B: It's. It's less interior, less personal. [01:09:08] Speaker A: Yeah. [01:09:09] Speaker B: But it's more about, like, structurally what happens in the wake of these, you know, of these events. [01:09:15] Speaker A: This isn't necessarily a dig at Weeks, but it is the most generic thing to do a sequel on. [01:09:22] Speaker B: Yeah. [01:09:22] Speaker A: In a way that makes sense for a studio. [01:09:24] Speaker B: Yeah. [01:09:25] Speaker A: Where it's. [01:09:25] Speaker B: Well, it's like the end of your first movie is like, hey, military bad. [01:09:31] Speaker A: Yeah. [01:09:31] Speaker B: And then the entire premise of your second film is, hey, military bad guys. It's like. [01:09:38] Speaker A: Yeah, but it's funny, though. But it's funny though, too, because I think the hilarious thing about Weeks, besides the fact that two of the prominent American soldiers that are kind of, you know, focused on are Idris Elba and Rose Byrne as well as Jeremy Renner. [01:09:55] Speaker B: Yes. [01:09:57] Speaker A: Like, those are. Those are the trio of, like, you have the commander who's played with. By Idris Elba in an American accent, but not doing his wire American accent. He's just doing, like, typical American Idris Elba. [01:10:10] Speaker B: Am I wrong in thinking that Idris Elba is like, not that prevalent in this movie? [01:10:17] Speaker A: He is the. He is not as prevalent as the other two, but he is like, he is the focal point for a lot of the military. [01:10:24] Speaker B: Yeah. Kind of the eye in the sky guy. [01:10:25] Speaker A: He's in. Yeah, he's in a. Basically he's in a control room for a lot of it. [01:10:29] Speaker B: Right, right. [01:10:30] Speaker A: But like, Rose Byrne and Jeremy Renner are the big, you know, boots on the ground. [01:10:34] Speaker B: Yeah. [01:10:34] Speaker A: Of it all. Rose Byrne is a scientist who is a medical professional who is basically helping bring all of these British citizens back into the city and try to like, locate them. [01:10:46] Speaker B: Yeah, relocating people, reintegrating people back into the quarantined areas and making sure they're not. [01:10:52] Speaker A: Not sick. [01:10:53] Speaker B: Right. [01:10:54] Speaker A: And Jeremy Renner is a sniper. [01:10:57] Speaker B: Yep. He's a Delta Force. [01:10:59] Speaker A: Yeah, he's. [01:10:59] Speaker B: He's. Which basically like they have this section of, I think it's London, Right, that they've quarantined off and made safe, cleared of all infected. And they've brought people back in in waves and kind of created this controlled mini society. And the American military has snipers posted on basically like every rooftop just to like constant. Have a constant watch out because like the instant any infected shows up, you've got to fucking erase that immediately or else you go right back to where you started. [01:11:33] Speaker A: So the biggest, the opening with Robert Carlisle is supposed to depict when it's happening, as it's happening, like let's say 28 minutes after it fucking hits. [01:11:44] Speaker B: Yeah, it's like right at day one. [01:11:47] Speaker A: Yeah, basically. And then we shoot to 28 weeks later and it basically. You see this, you know, this crawl, this text crawl of like, you know, American soldiers have been brought in. They have been basically, you know, clearing the streets of London, taking out any infected. [01:12:04] Speaker B: Yeah. [01:12:04] Speaker A: Making sure everything is fine. And now they feel comfortable bringing people, more people in and having like these apartment complexes that are built to start to be the first thing that kind of. It's where people are going to be staying at. And until they can kind of fully clear out the housing and make that normal, then the premise basically ends up being two of our prominent. There's because there's technically. There's technically four, four to five. The fifth one is of course, Idris Elba, but he's. He becomes less of a prominent pieces on. But there's four characters mainly that is a brother and sister duo who you end up finding are Robert Carlisle's kids. [01:12:43] Speaker B: Yeah. And then Rose Byrne and Jeremy Renner. [01:12:46] Speaker A: Yeah. Which the kids don't know what happened to their dad because basically the beginning of the movie, it is Robert Carlisle, his wife and a bunch of survivors who were just kind of in this random house. [01:12:58] Speaker B: Yeah. [01:12:59] Speaker A: Robert Carlisle's wife really wants to help a child. [01:13:02] Speaker B: Yeah. Like a child knocks on their door and they open the door and a bunch of infected get in. [01:13:07] Speaker A: He's making so much fucking noise. And of Course the infected come after him. [01:13:11] Speaker B: Yeah. [01:13:11] Speaker A: This scene is genuinely terrifying because, like, everything is boarded up. They don't see anything outside. You think it's pitch black. [01:13:19] Speaker B: Seems like it's a nighttime scene. Yeah. And then the boards come down. It's like, oh, fuck. Fuck it. [01:13:23] Speaker A: They open the door and it's just like, ah, shit. [01:13:26] Speaker B: Yeah. [01:13:26] Speaker A: And then everything. All hell breaks loose. Pretty much all of the survivors start getting eaten one by one. And then there's this moment where Robert Carlisle's wife basically sat, like, basically risks her life to save the child. And then Carlisle has the choice to either risk his own life to save them or save his own life. [01:13:47] Speaker B: They're like on opposite sides of a room. And he sees her and he sees the zombies and he's like, fuck it, I'm out. [01:13:54] Speaker A: He's out. [01:13:55] Speaker B: And she sees him and watches him abandoned her. [01:13:57] Speaker A: And you know what? This shouldn't be a hot take, but I think that was probably the right decision. I'm being completely. It is so wild that, like, this movie has this energy of, like, Robert Kyle, his. He's a phenomenal actor, even though, you know, probably Andy's only seen him in his greatest role, Rumble Stiltskin and what's fun. [01:14:19] Speaker B: Right, right, right. [01:14:20] Speaker A: But he is an actor that I think really in this movie, out of all the characters that actually have more time on screen than he does, he conveys this insecurity, this guilt, this trauma surrounding his wife choosing a child that is not theirs over the possibility of surviving to maybe see their own children. Because in that scene, it is a established that their kids are on a trip. Yeah, their kids are on. Basically on a field trip. And they were able to get out of the countryside to an extent, to be safe when the virus is hitting the countryside first before it goes into London. And so in that scene, like, Carlisle is constantly like, I'm a coward. My kids are going to hate me. And I'm like, listen, I feel like you bring the oldest daughter, played by Imogen Poots, a name that Adam didn't think was real, but it's exact. In fact, that's woman's name. She's a. I really like her as an actress. Great in Green Room. I like her in Fright Night. But basically you just pull her aside and be like, hey, listen, your mom chose a random child over getting out of safety with me. And I don't know how I could have saved her because there were three rage zombies. And I don't know if you know this, but one zombie is enough to really up an entire ecosystem. So like three of them in a tiny room against me. [01:15:48] Speaker B: It's, it's. [01:15:50] Speaker A: It's called a numbers game. I feel like in that moment it's not working. [01:15:54] Speaker B: Well. Yeah, the, it's a. Flawed. The film presents it as like he's a coward. Yeah. As, as here he faced the trolley problem and failed. But it's like the trolley problem they set up is like, okay, what were his chances of A surviving or B saving his wife? Like neither one of those was going to happen if he went in there. [01:16:20] Speaker A: No. [01:16:20] Speaker B: And yes, absolutely shitty for the wife to like see him do that. Like witness him. You know, the fact that they make eye contact and he's like, see ya. That really sucks for her. Especially because she gets eaten. Yeah, well, especially because, you know, we find out later that she's still alive. [01:16:38] Speaker A: Yes, yes. [01:16:40] Speaker B: You know, and he's, he's. He probably left under the assumption that, well, she's fucking dead. But yeah, he's kind of flawed because the film presents such a skewed scenario where it's like I don't know that what he did was really all that wrong. [01:16:58] Speaker A: Yeah. [01:16:58] Speaker B: Like if, like, yeah, we all want to believe that like oh, our partner, our loved one, our best friend would throw themselves at death to. At any chance to save us. But it's like realistically, did he have a chance? Yeah. Like was he going to be able to save us? [01:17:13] Speaker A: Like, yeah. If you saw a bear next to someone that you loved and you're like. [01:17:18] Speaker B: Nothing around bears paw is already swinging down at them like, are you gonna. What are you. What are you gonna do? [01:17:25] Speaker A: I think if you wanted to convey that so same thing but not have those questions internally. Like audience wise we like, why the. Am I supposed to feel like this man's a coward, like he has no weapons, he's gonna hit him with like a toy bat. Like they're in a kid's room. I think when they get cornered. [01:17:39] Speaker B: Yeah. Yeah. [01:17:40] Speaker A: And again the kid is hiding in the closet making so much noise and the, and his wife just bolts to the other side to help this kid when there's can't help him. [01:17:52] Speaker B: Like it's just. Yeah. [01:17:53] Speaker A: It is just survival thing. It's an instincts. If it. I think you just give him a gun. He has a gun, he could take him out but he's afraid that the bullets are like the, the sound of the gun is going to bring more thing them up and then he just. [01:18:10] Speaker B: Give him, give him a genuine opportunity where he could have stopped the situation or Ended, you know, saved his wife or whatever. And then have him not take that if. If your goal is to make him out to be a coward. So, yeah, it's. [01:18:23] Speaker A: It's like looking at someone who's, like, neck deep in quicksand and then being sad you couldn't save them. [01:18:28] Speaker B: Yeah. Or being like, you coward. You didn't. You didn't fucking jump in there with them. [01:18:34] Speaker A: Yeah. We got to do, like, throw it to their teeth and hope you can pull them out. Like, it just. It is hilarious how he's, like, so guilty. He feels so guilty about it, and then, like. [01:18:45] Speaker B: Well, I think it's okay to portray him as wracked with guilt. [01:18:48] Speaker A: Yeah, absolutely. [01:18:49] Speaker B: That's the way the film treats him. But then, like, he's a. [01:18:53] Speaker A: And then. But he. Then he lies. Yeah, he lies about this. Then it's like. That is a bit contrived because you could honestly be honest about, like, listen, it was a hard decision. Your mom went to try to save somebody out. Like, it's that whole kind of dynamic right there. Well, I think Carlisle sells it well, and I think the kids do a good job. I think there is. It's. It's just so weirdly contrived and how it's talked about. [01:19:18] Speaker B: Yeah. [01:19:19] Speaker A: And then, of course. Yeah. Like, Andy said the whole thing about the movie, the big twist in terms of, like, well, it's been 28 weeks later. Everyone is constantly talking about how they haven't seen any infected. And also, at the end of days, another thing I forgot, like, there are two big things. It's the airplane scene where it's like, maybe other places are fine from this. And the second thing is, is there is this feeling of like, well, if it's only on the. It's only on the. In the Isles. The British Isles. They're gonna run out of food eventually. Yeah, they're gonna run out. They're gonna starve. Like. Yeah, there is this propelling. There's this, like, prominent theory that, like, if we just last months, maybe even years. [01:19:59] Speaker B: Yeah. [01:19:59] Speaker A: They'll just starve to death and die. And it's like when we get into weeks that has this energy of, like, okay, so they might starve. What's gonna bring down this mini civilization again? And the thing that is created to it is something that I think garland and boil. I think garland specific. I don't think either one of them are really shat on it, but I don't think either one of them really liked it. And it is, in fact, the idea that there are People that can get bitten by the eaten, basically, like, get the rage virus but don't fully turn into a rage zombie. [01:20:36] Speaker B: Yeah. It's like they call them carriers. [01:20:39] Speaker A: Yeah, carriers, where they get sick but. [01:20:41] Speaker B: They don't become zombies, they act. It's. [01:20:43] Speaker A: So. Yeah, so let's say a rage zombie, like, yells and, like, has spasm attacks every 30 seconds. It's like someone who's a carrier has a spasm and screams every 60 seconds. Like, yeah, it's less than. But they do. They still act. They're still clear. They're still clearly rage induced. Yeah, like, it's. And so, yeah, what basically happens is the kids go into a section of London they shouldn't have. They go to their old house. [01:21:15] Speaker B: Yeah. [01:21:16] Speaker A: Which again, they're fucking kids. I think this stuff makes a lot of sense in terms of, like, if you're really. If your house was down the street and you're told, like, everything should be fine and they don't run into anything. Like, of course they're just gonna go to their own house and be like, let's get our own things. They do that. And then, of course, their fucking mom is just sitting in the middle, like, in the corner of the fucking room. The last time we see them, she's in the fucking countryside getting her neck eaten out in a fucking window. [01:21:42] Speaker B: Yeah. [01:21:43] Speaker A: Getting pulled out. [01:21:43] Speaker B: It's like, what are the fucking. [01:21:45] Speaker A: How did you. She walked and ran all the way to their fucking house. And so they find her. The military is like, you fucking idiots, you shouldn't have gone out. Also, what the fuck is that? [01:21:56] Speaker B: Yeah. [01:21:56] Speaker A: Rose Byrne goes, holy shit, this woman is a carrier. [01:22:00] Speaker B: Yeah. [01:22:01] Speaker A: She could actually have a. She could have the vaccine. Or we can find the vaccine in the kids because. Because they also. What is the. The condition where you have a different eye color? [01:22:12] Speaker B: Heterochromia. [01:22:13] Speaker A: Yeah, The. The son has heterochromia. [01:22:16] Speaker B: Yeah. [01:22:17] Speaker A: And the mom also has that. So there's an implication that the sun can't. Sun is probably also cannot be turned into a rage zombie. [01:22:28] Speaker B: Well, it's hard to turn both of your eyes yellow when they're two different colors. [01:22:31] Speaker A: That's how they get you. [01:22:33] Speaker B: The color chemistry just doesn't. [01:22:35] Speaker A: The rage sounds like the virus just. Fuck. I don't know how to fucking change. [01:22:38] Speaker B: One of these is going to be purple. [01:22:40] Speaker A: The last time I did this, they're both blue. That doesn't work. [01:22:43] Speaker B: Yeah. [01:22:44] Speaker A: But. So they capture the mom. Robert Carlisle hears this and then gets like, this weird again. I think some really good acting from him. Where he's like this. [01:22:54] Speaker B: Yeah, yeah. [01:22:55] Speaker A: Real guilt, but also he's frustrated and pissed at her. [01:22:59] Speaker B: Yeah. [01:22:59] Speaker A: Because it feels like there's these unspoken, like, you left me to go save this child. [01:23:07] Speaker B: Right. [01:23:07] Speaker A: And where's this child now? Like, it has. Like, he's frustrated, but he also misses her and still loves her. And so, of course, since he has access, because he's like, a building manager to, like, the apartment complex they're using. [01:23:21] Speaker B: He's a. He's a cleaning operations guy or something. But. Yeah, so he has, like, full clearance to everything. [01:23:28] Speaker A: He has clearance to go into the quarantine area where his wife is and just, like, decides to give her a smooch. But here's the thing. She's got that rage. So of course he gets the virus and he becomes a rage zombie, and then all hell breaks loose. And then the movie keeps going. Like, the movie. [01:23:51] Speaker B: Well, the movie just kind of begins at that point in terms of its A plot, which is like, we're, like, halfway into the movie, and we just kind of start the A plot because. [01:24:01] Speaker A: Like, a lot of it is kind of, you know, taking its time in terms. A lot of dressing. Yeah, it is. Compared to 28 days, where, like, 28 days later feels like you're trying to figure out which silverware works best with this cloth while you're also killing a zombie with said silverware. Like, you're just trying to set up how everything's working while also still having some action moments. Well, 28 weeks later, I think is a more standard version of let's do some set dressing. You had the crazy opening moment, but now it's time to, like, really build out. [01:24:34] Speaker B: Yeah. [01:24:35] Speaker A: This is our American team. This is. Is the medical team. Idris Elba sees it all. This is the plan, and it's like, okay, that's fine. It's okay. Like, it's like, I think genuinely, like, it doesn't surprise me that it's got to be somebody in the studio. And I think Boyle and Garland are like, yeah, of course. Fine. It's not like Mantle's back for this, but it's like, yeah, it doesn't have to look like a shitty camcorder. Yeah, like this. Like, this movie. Like, hilariously, some of the stuff. [01:25:06] Speaker B: Same, like, editing style, that frenetic style. But, yeah, it's not shot on a potato. No, it looks a little bit more like a standard 2000s blockbuster. [01:25:17] Speaker A: A lot of sniper POV. There is some, like, night vision. There's a night vision scene. [01:25:22] Speaker B: Yeah. And it does. It has that kind of unfortunate 2000, like mid 2000s. Super high contrast, washed out skin. Like. [01:25:33] Speaker A: Yeah. [01:25:33] Speaker B: Teal gray, pissy kind of palette to it, which is like, fine for something this dour, but doesn't look as interesting as 28 days. [01:25:43] Speaker A: It kind of is like someone being like, let's try to color it. Like, 28 days later. It's kind of colored and it's like, oops. It kind of looks like. [01:25:49] Speaker B: Let's take footage and try and make it look like it was shot on a camcorder. [01:25:57] Speaker A: It has the energy of the film. Should be direct to video, but it has a $48 million budget. Like it is because, like, the. The plot feels like this is like. Yeah. This is what a sequel of 28 Days later should probably be. In a basic sense. I think it's like. It's a much higher budget. [01:26:17] Speaker B: Wikipedia says 15. 15. Okay. [01:26:20] Speaker A: Thank. [01:26:21] Speaker B: I haven't looked anywhere else. [01:26:22] Speaker A: Well, honest to God, if that's the case, then I think it even fits more the direct to video vibe. [01:26:27] Speaker B: Yeah. Yeah. I mean, that is still double. Twice. [01:26:30] Speaker A: Yeah. [01:26:30] Speaker B: Of the first one. Yeah. [01:26:32] Speaker A: It's also like. It is. Fox is distributing it, but not Fox proper. It is Fox Atomic. [01:26:39] Speaker B: Yeah. [01:26:40] Speaker A: Which I don't think I've ever seen. It's like, similar to, like, when you see the Marvel Knights logo and like, Punisher War Zone. [01:26:47] Speaker B: Right. [01:26:47] Speaker A: Where it's like, when was, like, ever. [01:26:48] Speaker B: That actually a thing? And then you go like, did that have an office? Like, was there. [01:26:55] Speaker A: Did it have a sign outside of a door? [01:26:57] Speaker B: Yeah, but it was a rental space in a strip mall. [01:27:02] Speaker A: It's. So. Yeah. Twice the budget. It made 48. I think that's what I remember. Yeah. [01:27:07] Speaker B: So it made like, Maybe in the US it made about 70. [01:27:10] Speaker A: Okay, cool. Okay. So that's the thing too, is, like, this film. I think in a lot of ways it should be bad. I think that a lot. It should be bad. It should. [01:27:21] Speaker B: What I'm looking at the Fox Atomic, their filmography. [01:27:24] Speaker A: How many films? [01:27:25] Speaker B: Seven films. [01:27:26] Speaker A: Oh, wow. Throw me some films. [01:27:29] Speaker B: The Hills have Eyes too. [01:27:30] Speaker A: That makes it see direct to video 28 weeks later. [01:27:34] Speaker B: The Comebacks, which I'm not familiar with. It's like a football comedy. I've seen the Comebacks directed by Tom Brady. [01:27:43] Speaker A: What? [01:27:44] Speaker B: Maybe it's a different Tom Brady. That's one hell of a coincidence. And the rocker, which is that Rainn Wilson. Yeah. [01:27:52] Speaker A: Josh Gad. Emma Stone. [01:27:54] Speaker B: Yeah. Yeah. [01:27:55] Speaker A: Wow. That's a. That'll. That's. That is a 2000s line dump. If I've ever heard it. [01:28:00] Speaker B: Yeah. [01:28:00] Speaker A: And it's hilarious how I've seen. [01:28:02] Speaker B: I think Tom Brady, the director of the Comebacks, is a different Tom Brady. [01:28:06] Speaker A: Yeah, this is. Sorry, this is the Fox atomic section of the episode. Because to be honest, I think this. [01:28:12] Speaker B: Is a sponsored segment. [01:28:14] Speaker A: Because the thing is, is I think. I think 28 weeks later talking about it is pretty standard. Mostly the second, the middle of the film is pretty much how you think it's going to go. [01:28:26] Speaker B: Yeah. [01:28:26] Speaker A: All hell breaks loose, you know, the. The military turns on the public and hilariously enough, I think it is hilariously the most competent response to something like that. Where it's like Idris, Ella being like, all right, you know what? Fuck this. Scrap it. We. We tried and it fucked up. Listen, there are too many zombies in that fucking crowd. If you kill a human, like, if you kill a normal person, that sucks. But like, we can't let any of these people get the fuck out. [01:28:54] Speaker B: He does go. Yeah, he goes a little further than that. Says start targeting everything that moves. Basically kill all people. [01:29:00] Speaker A: And at the same time, though, it's like, I know in other films you'd be like, the military. How horrible. And it's like, I think even Garland can be like, I get that. Like, it's like literally they get one scratch on them, they've immediately become a rage zombie. [01:29:15] Speaker B: Yeah. [01:29:16] Speaker A: So like you've basically have a bunch of wolves in a. In a fucking pen with pigs. It's like, you might as well just take it all out because. Yeah, if you don't, they're just gonna keep eating and things are gonna get bad. [01:29:28] Speaker B: Yeah. I guess where the line is truly crossed is like for the rest of the film where the US military is just on permanent kill everything status. Even if it's just somebody walking down the street. Even if it's shoot them on site. [01:29:41] Speaker A: Yeah, Even if it's. Because basically Renner's whole thing at this. [01:29:45] Speaker B: Point, don't we kind of know the difference between a rage person and a non rage person? Yeah. [01:29:51] Speaker A: Because Renner, in the, in the plot right before Hurt Lock, he's probably shooting Hurt Locker at the time this movie's coming out. Basically becomes someone who goes like, his team starts getting picked off one by one and starts feeling uncomfortable with being asked to kill civilians. [01:30:08] Speaker B: Team just immediately goes along with it. [01:30:10] Speaker A: Yeah. [01:30:10] Speaker B: And the ones. And then they start dying and he's like, yeah, I'm not fucking sticking around. [01:30:15] Speaker A: He's like, fuck that. And then he like beats up with. [01:30:18] Speaker B: A die, killing civilians. [01:30:19] Speaker A: Yeah. Meets up with A bunch of survivors, which includes Carlisle's kids and Rose Byrne. Rose Byrne is the only person outside of Idris Elba that knows about the carrier. Kind of like vaccine kind of possibility. So the team ends up becoming Renner Byrne and the kids and then a bunch of randos that get killed off here and there. And at the same time this is all happening. Apparently not only is the mom a carrier, Carlisle, even though he's clearly a rage zombie, he. I would imagine the way you describe it now is a Proto Alpha kind. [01:30:55] Speaker B: Of situation, but clearly establishes. [01:30:57] Speaker A: Yeah, but that is not the. Clearly the case at the time. [01:31:01] Speaker B: And it doesn't. Yeah, it doesn't follow the internal logic. [01:31:04] Speaker A: No, no, no, no, no, no. [01:31:06] Speaker B: So, yes, what we get basically in terms of a main threat in the second half of the film is, in my mind, this the stupidest part of this movie. Which is a kind of scheming, conniving, sentient zombie. Robert Carlisle, like, clearly a rage zombie, but he also keeps like sneaking around like a little rat and following the main characters around the different areas without attacking them, just like hanging out in the background. [01:31:34] Speaker A: He's a bit of a mastermind in a weird way, in a way that's like. Yeah. And it's also like this. It is. The movie is entertaining enough. [01:31:45] Speaker B: It's a very straightforward, like, okay, we gotta get point A to point B and there's gonna be a bunch of zombies attacking us. [01:31:52] Speaker A: Let's put it this way, in terms of a sequel. And we go and like going into years, Garland and Boil don't have to really do a lot to like feel like they have to retcon stuff that Weeks does. They don't really retcon anything in years that Weeks does. I think the only thing they technically retcon is the ending. But really they find a solution that's pretty easy. Which is like at the end of 28 weeks later, it ends on a cliffhanger of basically. And now the zombies have entered Paris. Oh, yeah, there's pretty much. The film ends in a way where it's like, maybe the kids will be able to help lead to a vaccine. Oh, no. The kids died in a plane crash. Yeah, helicopter crash that they couldn't shoot, I guess because they kind of ran out of money. Because even though they have. Because with a 50 million dollar budget, there are times where helicopters are clearly not real. Yeah, you can't really help that. But there is a cool scene where a clearly not real helicopter slices a bunch of zombies with it's like propeller solid. That's a little set piece that's. That is a cool idea. I will give the director props. I will give the writers prompts. That's a lot of fun. Again, like, if you ask someone off the street, like, hey, if you. Like, 28 days later, what would you want with the sequel? It's like, I don't know, like, more rage zombies. Probably just more like, action, I guess. [01:33:12] Speaker B: Yeah. [01:33:12] Speaker A: And, like, in this film, it kind of feels like it's like, all right, we checked that box. We tend to have more action, more of an Amer. Like, we have more than just the Brits. So, like, we have more of a kind of interpretation of, like, outside forces seeing what's happening in Britain. [01:33:28] Speaker B: Yeah, well, it's. It's also, you know, it's kind of assimilated into, like, what other zombie movies in the wake of 28 days were doing. [01:33:38] Speaker A: Yeah. [01:33:39] Speaker B: Doing more things of other successful zombie stuff. [01:33:42] Speaker A: Yeah. [01:33:43] Speaker B: More zombies, more action, more killing. [01:33:46] Speaker A: Yeah. But basically, yeah, once. Once Idris makes the call to just kill anything that moves, they do in fact, kill everything that moves. And then at a certain point, a bunch of zombies, it implies that they go to the command center where Idris Elba isn't, I think, kill everybody there. But they don't show. [01:34:04] Speaker B: They don't show that. [01:34:05] Speaker A: They probably didn't shoot that. But, like, so that means the guy that made the call to kill everyone is now dead. So no one could really tell that. So, like, now they are fighting the zombies as well as they are fighting people that are trying to shoot them and kill them with soldiers. And. And ultimately it goes, you know, the team gets picked off one by one. Bunch of randos, usually. But then, like, you know, Carlisle will, like, go around and just, like, pop out of nowhere. Be like, I'm following you the whole time. [01:34:31] Speaker B: Yeah. [01:34:32] Speaker A: Jeremy Renner gets burnt to a crisp while trying to get them out of the streets. That's a fun. I will say a cool visual, having the flyer come down with, like, the suits and the flamethrowers. [01:34:42] Speaker B: Well, and he's like, you know, that's, like, one of the few deaths in this that, like, feels solidly empathetic. Because, like, Renner, he's not in the movie that long, at least as, like, a focal point. But his character is rootable enough because. Because of that scene, he literally has. [01:35:02] Speaker A: His orders and he genuinely has the least skin in the game out of the entire team. And he fights the whole. [01:35:08] Speaker B: And he puts his life on the line to make sure these kids survive. [01:35:11] Speaker A: And he gets. Yeah, so he gets burnt to a. [01:35:13] Speaker B: Crisp, which is a cool scene. [01:35:15] Speaker A: Their whole goal is to get to, like a evac point that a pilot who is one of Jeremy Renner's soldier buddies is going to meet them at as like a safety zone or whatever. And then they go down to a subway. Rose Byrne dies in the just weakest way of the entire. [01:35:34] Speaker B: Practically disappears from the movie. [01:35:36] Speaker A: Yeah. She gets her head set smashed in. Technically, through night vision pov, you just see the camera get closer and closer to her. And then at a certain point she gets bloodied up. [01:35:47] Speaker B: Yeah. And then she kind of like. She does the classic, like, it's like in found footage movies where the person's body just like falls into the frame of the camera. [01:35:56] Speaker A: I remember because I've seen Weeks. I've seen Weeks, I think once before this, and I remember her dying. I do not remember her dying by night vision flashlight and helmet. No, it's a gun. It's like the butt of a gun. I think it is. [01:36:11] Speaker B: Yeah, that makes sense because she's carrying. That's how she has the night vision, is. She has Renner's rifle. [01:36:16] Speaker A: Yeah. And then we come and then we have a scene where Robert Carlisle has to fight his kids. Carlisle bites his son. His son doesn't initially turn. And then they kill Carlisle and then the kids get away. They find the pilot. They're. They're like, you know, he got the kid goes, am I going to become one of them? And it's like, I'll make sure that doesn't happen to you. And then they both all get into a plane. And then I don't know if this was a decision initially or this is like a reshoot thing, but they just like, die in a plane crash. They, like, die in a helicopter crash. It's kind of implied. [01:36:49] Speaker B: Yeah. [01:36:50] Speaker A: Because it's a picture of the pilot's family. Like, then it just cuts to a bunch of zombies running out of a tunnel and into like. Oh, it's the Eiffel Tower. [01:37:00] Speaker B: Yeah. You see like some survivors coming out of a train station or something. [01:37:04] Speaker A: And that is the last thing you see of the franchise for 18 years. And for years there is an implication that Garland or Boyle have. Like, we could do a 28 months technically, but as time goes on, I mean, again, 28 months, at that point, have. There was more than 28 months between dates and weeks coming out. So, like, at this point, it's like, I think if they want to do something, maybe we have to go a little harder. And so at a time Post yesterday because it's the last thing Danny Boyle has directed before years. And Garland, who is like he was. He's constantly talking about a news and stuff. I like being a director is like killing the soul. Like he's just sucking the soul out of him. The man literally has made some banging films in his career and his biggest film is probably his biggest flop because the studio didn't know how to sell it and they put it Annihilation out in February. I'm still kind of pissed they did that to that movie because that movie has genuinely. You could go. By the way, this has one of the scariest, most horrifying, but also wildly fascinating horror sequences in any movie, which is the bear scene. [01:38:24] Speaker B: Yeah. [01:38:25] Speaker A: And it's like, what the is this? And I've never seen this. And it's like. Yeah, because it came out in February, the year as all this is happening, there comes this inkling where almost like the spark of hope between them, especially with Mantles. Well, because like Mantle's not a part of Weeks, which is totally fine. And he's got plenty of other work he's doing at this time. I know he. I think he's worked on other Oscar noms at this point besides Boyle's work. He's worked on a lot. [01:38:54] Speaker B: Yeah. [01:38:56] Speaker A: But he ultimately, you know, there starts to become a discussion about could we come back to this? And if we come back to this, what would it look like? And also would anyone want this? Because that's the thing too, I think with the, with them, it's like 28 days later is, you know, by the time they're probably having these conversations for real. It's probably been like the 20th anniversary. It's probably post Covid. [01:39:20] Speaker B: It's probably this energy of like conversations were happening off and on the entire 2010s, and I think the project went into like development hell. And then toward the, the end of the decade, Bo was like, no, I think it's going to happen. [01:39:34] Speaker A: Because Bo, at this point, Bo is not like really stopping working, but like almost becomes a for hire director in a way that is weird for Danny Boyle because that man, honestly, that man has an Oscar winner and an Oscar nom under his belt. Give him a bit more carte blanche. He's been given the man. The man is so talented and Garland is too. But it just seems like probably post. Not even because Covid still exists, but like post the Pandemic era. Yeah, they probably are. Like, we could probably do another one of these for real and really commit to it. But like, how? Like, what would really be the. The point? And I honestly would say, and I think a lot of people have said this too. I don't. Maybe Boil has even been honest about this. I think when Killian wins his Oscar for Optics Oppenheimer, there is no better time to be like Killian. Yeah, you are now. You are on top of the world right now. You finally got an award you've honestly deserved for years and different reasons, and now you've gotten it. [01:40:39] Speaker B: Yeah. [01:40:40] Speaker A: Would you be interested in ever coming back to this world? And what we get, at least for years, is him as an executive producer with promise that this won't be. That Days will be the last time we see Killian in some way, shape or form. Because now it's 2025. It has been seven. It's been 18 years since weeks. And in the span between 2024, kind of like late when we started seeing inklings of more from day from years and then seeing the initial trailer, which I think genuinely broke records in a lot of ways and was like really fast. It's one of the best trailers to come out in a while to really sell you on this movie is something you should see in a theater. In the span of all of this happening. Boil and Garland have been just way too cheeky with the amount of information they're giving us. Because while this is a trilogy episode on days and weeks and Years. [01:41:43] Speaker B: Yeah. [01:41:44] Speaker A: We are already planned probably, and then probably in three years to do just a 28 weeks later trilogy. [01:41:53] Speaker B: Yeah. [01:41:53] Speaker A: Or 28 years later trilogy with us revisiting 28 years later. Because in the process of getting this film deal out there, they have already basically said 28 years later is not like the finale to Days and Weeks. It is the start of a trilogy. [01:42:13] Speaker B: Yeah. [01:42:14] Speaker A: That apparently, I think at one point, because for the longest time since they had the rights to Dazen to like the franchise, especially Days. Days was just hard to get, like, physically. And I think sometimes it wasn't even on streaming or rentable. And I think a lot of that is like. I think at times there's a good. This could be a tinfoil hat thing. But like, they probably were using the distribution or the re. You know, like using like the redistribution rights for days as like a. Hey, if you would like to reduce like distribute days for us in like a Steelbook or like a 4k edition or like an anniversary cut, we are more than happy to do that. But we actually have ideas. [01:42:58] Speaker B: Yeah. [01:42:58] Speaker A: For more in the series. And so what we get is, you know, 28 days later getting back into circulation and Boil and Garland coming back together for the first time since Sunshine to make what is probably going to be one of the most interesting conversations of any kind of big, highly anticipated film, let alone just a horror film to come out this year. Yeah, because you know, fire warning. I know I've, I've already, I looked at how long this episode has already been already. But like Andy and I just saw 28 years later a couple days ago. [01:43:38] Speaker B: Yeah. [01:43:39] Speaker A: We had to get a late night screening and we couldn't see it opening weekend because all of our theaters were like the times that worked out for us were getting packed, they were getting filled out, they're getting sold out. So when we, we got like a 9:30 showing on a Monday, we got out near midnight. [01:43:57] Speaker B: Yeah. [01:43:58] Speaker A: And we, we didn't even have time. Like that moment we were like, we have to work tomorrow. So we will talk about this on the pod. [01:44:05] Speaker B: Yeah, we haven't really, we haven't talked about this. [01:44:08] Speaker A: And I will be completely honest, I haven't not stopped thinking about this movie since we saw it. [01:44:14] Speaker B: Yeah, it's. And it's awesome. [01:44:16] Speaker A: It's very interesting. I, but I was very curious to hear what your thoughts on it were because I remember when we were watching it in theater a few days ago, there were moments where you audibly reacted to things in a way that made me go. I'm curious to see how he actually likes the whole picture because I know where I stand on it, of course. But I want to hear what are your thoughts on 20 years and to fair warning, we are not going to pull this it back. We'll spoil it. We might like. We're gonna, we. It's hard to talk about this movie without just talking about the fucking things that happen in it, of course. [01:44:52] Speaker B: But yeah, well, I, I really enjoyed this movie and I'm, I will say up front I'm very impressed with how, how like for lack of a better word, interesting it is as a 20 plus years later sequel to, you know, such an iconic modern film and that it's still willing to like clearly Garland and Boyle are still very interested in like being weird with it and yeah. Trying strange ideas and strange filming techniques and editing choices and it's very, you know, it's, it still has a lot of that punk rock quality that 28 days did that was kind of missing only a few years later in 28 years and has frankly been missing from a lot of like Boyle's work as of late. [01:45:49] Speaker A: Absolutely. [01:45:51] Speaker B: And so it's fun to see him back in that mode and Garland having a cheeky time. I think my biggest issues with the movie, which are probably surrounding the things that you heard me react to, was, like, in the middle of the film, I found it to be a little bit of a slog. And I do remember you. Basically, what I thought was going to happen, thankfully didn't end up happening. I thought we were getting the, like, contrived cliche. Well, okay, the kid breaks out of town to go save his mom, and he's gonna immediately get into danger and the dad's gonna have to go save him. Yeah, dad's gonna die. And like, I thought from that, when that started to happen, where the kid, you know, distracted the guards and tried to leave town, that moment, I think I probably let out a big sigh. I was like, God damn it, is this where this is going? And thankfully, no. The movie goes off in a different direction. But there was a stretch there, I don't know, maybe 10 minutes of the movie where I was kind of like, like, are we losing it? Are we losing the plot here? But then it gets to my favorite stuff in the whole movie, which is Dr. Kelson, which now has me very excited for this new trilogy that this movie is kicking off with the Bone temple. [01:47:13] Speaker A: I. [01:47:13] Speaker B: Which I did not expect to be, like, excited for. [01:47:15] Speaker A: I am not kidding. Since we have seen the movie, I spent all of Tuesday. Almost anyone would. Would. Would let me talk about this at work. I would not stop talking about how much I want the bone temple to be treated like Hobbiton. I want a bone temple. I love the bone temple. [01:47:33] Speaker B: Yeah. [01:47:33] Speaker A: The way that the movie uses the bone temple. [01:47:35] Speaker B: I thought you were gonna say you spent all of Tuesday building your own bone temple. [01:47:40] Speaker A: Sorry, I don't. I. My iodine hasn't come in yet. [01:47:43] Speaker B: Iodine? [01:47:44] Speaker A: Yeah, iodine. My prophylactic. Prophylactic. Yeah. I was. I wanted to. I was listening. I was making sure. Because while Adi was doing that, I was definitely listening. But I wanted to bring up something that. A page that I follow that, like, does a lot of movie new stuff, and one I think you follow too, is called a shot. [01:48:02] Speaker B: Oh, yeah. [01:48:03] Speaker A: They posted something literally a day ago that I love, but I wanted to bring up. The post says Sinners was shot. Sinners, of course, the Michael B. Jordan ride cooler film was shot on 65 millimeter in its widest aspect ratio. And in IMAX, it was the tallest aspect ratio. 28 years later, used up to 20 iPhones to capture the ultra wide 2076, one frame. That alone, I think enough sells the fact that this movie. Yeah, well, that is. [01:48:33] Speaker B: I mean, it's funny, but it's also. It's a cool thing to read two horror movies in the same year, in 2025, that are like, okay, let's push the limits, you know, in this genre. Let's. Let's really treat it like we're doing something experimental. [01:48:48] Speaker A: Yeah. [01:48:49] Speaker B: I didn't do very different approaches because this movie also, I did not mention, brings back the crust of the original film. It doesn't look exactly like that. [01:48:59] Speaker A: No. [01:48:59] Speaker B: Going for that same look. But they shot on an iPhone and you can fucking tell. Like, yeah, you can see the kind of artifacting of the lower quality photos, but they do it in a way that's really interesting. [01:49:10] Speaker A: Yeah. Boyle is one of those directors that I like, is always, you know, someone who has known his own worth and knows that he would like, if he needs. If a film needs to be higher budget or he needs a certain type of camera or needs. Has a DP or cinematographer who wants a specific type of look that is, you know, could be expensive. He needs that for his film. However, he is also a man that probably screams when he probably saw fucking Soderbergh. Make, like four films on a iPhone and be like, these look great. [01:49:42] Speaker B: Yeah. [01:49:42] Speaker A: And like, all of Soderbergh's gear for that iPhone was, like, in a backpack. It's kind of wild. And Also, it's very 28 days later to like, have a sequel from that film. Just be like, yeah, yeah. Phones now are insane with what you can shoot. If you know what you're doing, you light it. Let's just shoot this film. And I. I'm glad you really enjoyed it, like, genuinely, because there's a part of me that was like, if we get into this and he does not like it, like, that's gonna be a fun conversation with a difficult one. But that's gonna be. Bullet's gonna bum me out. Because I loved this. [01:50:18] Speaker B: Yeah. [01:50:19] Speaker A: I. I made a bold claim when we left, when I drove Adam and us. Adam and I home. And I said it yesterday at work and someone went, that is a very. That is. Wow. I don't think I'd ever heard anyone say that. And I don't think I'm the only one who said it. Definitely. If you look on Twitter, no one. I think not only is this one of Danny Boyle's best. I think this is personally my favorite of the three. I think it's, like, at least as good and that is understandable. Yes. Like, I just think with, like. Because when I look at Days now and I think about, like, you know, that ending and how, like, you know, the third act, it could not really make or break. But it can change your perception of how much you love that movie. Because if the third act is perfect in your eyes, you probably think that movie's a 10 out of 10. Well, in my head, it's like an eight and a half, which, again, it's a fucking great film. But when I see the ending of Days, there are parts of me that kind of feels like there's a bit of a compromise here because it kind of has to because of what's going on in the world at the time. And feeling like, do you want to give the people a happy ending? Or how do you want to do this 28 years later out of these three fucking films? Is uncompromising from the first shot to the fucking last shot. The finale of this movie, which I would consider the bone temple stuff, which is. I agree with you. The bone temple, in my opinion, because there's a certain part in this. There's a part in the middle of the film where it's just our main character, Spike, who initially, you kind of have this feeling of maybe Aaron Taylor Johnson is the lead, but his son Spike is gonna be like, a co. Lead to a degree. No, this is Spike's movie. [01:51:57] Speaker B: Aaron Taylor Johnson is not in, like, the latter two thirds of the movie. [01:52:00] Speaker A: Aaron Taylor Johnson is used to sell the movie to an extent. And then they just go like, just kidding. This kid who has literally no credits under his belt, he's the lead, and guess what? This kid fucking kills it. He's incredible in this movie. And I cannot wait to. To see this kid just, like, be in the next two movies, I imagine. [01:52:20] Speaker B: I think you like one thing. I mean, obviously this movie does a lot of things right, but I think something it does really well is set up the potential paths for this new protagonist that they introduce and kind of. It sets you up for wanting more without feeling like you didn't get enough. Yeah, it doesn't feel like this is just chapter one, and it's an incomplete story, but it does feel like, oh, he could go a lot of different ways from here. And I'm curious what that's going to be. [01:52:54] Speaker A: Hilariously, it does kind of have this as a film that doesn't feel like it is beholden to the original. Honestly, I think a lot of people, if you want to go see years later and have never actually Seen Days, I think you can enjoy Years later as its own. But it still hilariously has similar to Days. It has a clear end point and then an epilogue similar to Days with, like, the lead from, like, Leaving the Mill, the. The Mansion, and then there's the 28 days later into the epilogue of Them in the countryside. Years has that too, but it is vastly different from what it's introducing compared to the original film. But like. Like Garland and Boil and Mantle are all just at their a game in a way that, like, I thought Garland has really been interesting at its least in terms of, like, his projects these last few years. Even Men, which I know is a very contentious film when that first came out. There is something about how Garland approached that movie. [01:53:56] Speaker B: Yeah. [01:53:57] Speaker A: That is like, there's something with you, man. They're like, I feel like if anyone else had done this, I'd be bored out of my fucking mind. But you're so. This is your script. You're so engaged in a thing like this. And even Civil War, a film that is like, basically a British man going, what would a modern American Civil War look like? Has interesting dynamics and interesting moments in a movie that is flawed. [01:54:20] Speaker B: Yeah. I mean, I. For all the warts of those two movies you just mentioned, like, I think he, as a director gets tension. [01:54:29] Speaker A: Yes. [01:54:29] Speaker B: Because those movies that are, like, where, you know, lives are on the line and, like, stakes are high, those movies are really tense. Even if I was, like, kind of meh. About, like, the machinations of the plot or the thematics of the film, I was still, like, scene to scene, I was like, okay, this is, like, intense. It's gripping. [01:54:47] Speaker A: This. But this movie has this. This. It's him back to, like, the cynicism that has always been there, but to, like, a degree that is like, this movie opens on children getting slaughtered in front of a Teletubby episode. [01:55:06] Speaker B: Yeah. Yeah. [01:55:07] Speaker A: In a way that is, like, even more intense than how 28 weeks later opens. In a way where it's like, holy fuck, we're so back. Like, that is how that opening feels, where it's like, we got Boil back, Garland's back, Mantle. You can feel it. It. But you also feel in that opening, just an energy of, like, it is going to be bigger, it's going to be more gruesome, it's going to be more chaotic, and it's also going to be sillier. [01:55:32] Speaker B: Yeah. It's going to be more surprisingly silly. [01:55:34] Speaker A: It is. Yeah. It is a film that is not afraid to constantly make you go, whoa, what the was that. Yeah, but not in a way that is bad, but more like I gotta put that in the back of my brain. Brain, because. And like the thing that I think most people would bring up that does that to them is how they use the iPhones. Because there is a rig that is built for this film. They built for this film with the iPhones? [01:56:00] Speaker B: Yeah, yeah. [01:56:00] Speaker A: That is mainly used for kill shots. Kill shots. Rage zombie moments, but mainly kill shots. And it is basically just shooting one scene from 20 different angles. And then in the kill shot, they just use that angle and just like kind of choppily move it. [01:56:18] Speaker B: It's like a semi. [01:56:19] Speaker A: Pseudo bullet time. [01:56:20] Speaker B: Yeah. If you were to see the rig, there are photos of the rig out there. It's like a half moon, like a semi circle. [01:56:27] Speaker A: Yeah. [01:56:28] Speaker B: Row of iPhones lined up, you know, 180 degrees around the subject of the shot. And yeah, like the Aaron Taylor Johnson or. Or Spike fires off an arrow, hits a zombie and like right at the moment of impact, these 28 cameras or whatever whip around and you get this like freeze frame 180 degree thing. That's. Yeah, it's like bullet time, but in bullet time. It's like a split, split second. [01:56:57] Speaker A: The film. [01:56:58] Speaker B: It's really weird. [01:56:59] Speaker A: Yeah, it's very weird. But it's like. Oh, fuck. [01:57:01] Speaker B: Yeah. [01:57:03] Speaker A: It almost kind of implies if you see something like this, usually that means they're dead. Because I think if you. If zombies get shot and it doesn't kill them, I think there may be one shot where Spike gets a shot in the leg and it gets that shot, but it doesn't kill the zombie. But like, initially it's like introducing that language to the audience like that when like, hilariously, they all are already using that language to depict something more than just the rage zombies. Whereas it's like this uncomfortable, different type of filming. Like, the cinematography is usually meant to just establish rage moments because we technically get a shot that uses that rig on a smaller sense right before that, which is when the mother played by Jodie Comer, finds out that Spike is going on. Because let me get into more of the premise with, like it being 28 years later. It is like in northern Britain, it's in the Northern Isles and it's basically pretty much. I think so. Yeah. And they're on a small island where the only way to get to the mainland is a causeway that has a high tide that basically blocks the path onto their island. So they're safe for the majority of the nights as well as a good chunk of the day. And Spike and Jamie, who's Aaron Taylor Johnson. Spike is 12 years old, and Jamie believes that he's old enough to be a man. It's time to do his rite of passage, which is to indoctrinate him in the traditions of being a man, which is you go onto the mainland, you hunt, you scavenge, and you kill zombies. And so in the process of doing that situation where, like, Spike is getting ready to go with his father. Jody Comer, who plays the mob, basically is in this. She is sick for the majority of the film. And she's. She has this sickness where she's, like, very lucid. She doesn't know where she's at. [01:59:01] Speaker B: Yeah, Alzheimer's esque. It's dementia. She kind of goes in and out of lucidity. [01:59:08] Speaker A: And then there's this. And then a moment she realizes, like, wait a minute, you're supposed to be at school. Why aren't you at school? And then Aaron Taylor Johnson's, as we talked about this, she's going on the hunt. And then he goes, you can't take my baby out there. He needs to have a childhood. And in that moment when she yells, it goes from one camera and snaps over to another in a weird rig way. And you're like, that's weird because they only use that for the zombies. And then when they do it, it's like, no. It seems like they're using this new cinematic language for the series as almost like, rage moments. These moments of, like, this, like, the Fury. Because, like, there's this energy in the film where since it's been 28 years, the epidemic has now become just life. This is what civilization is now in the uk, the retcon esque of Weeks is basically. Garland goes, okay, the thing that ends in weeks with Paris, it doesn't matter. The Parisian forces, Europe conquered it. It's not a big deal over there. But they cannot save the uk. [02:00:15] Speaker B: Yeah. [02:00:15] Speaker A: So the United Kingdom, which, if there's any kind of Brexit subtext, we wouldn't know off the top because we're too much Yanks for this. There's a lot of. This movie is so British. Even more so than I think Days was, in a way that I think it's like, I was like, I need some more clarification. Clarification on certain things here, especially something involving the finale, which we'll get to. But, like, it's interesting how the film is basically like, UK is under quarantine. Anything that gets on that island has to stay on that island forever because they don't want anything coming back. And possibly bringing the rage virus back. If anything tries to leave, it gets shot down. [02:00:55] Speaker B: Yeah. [02:00:56] Speaker A: So the UK is now basically back in. It's like a feudal era. It feels like where there are bows, there are arrows. [02:01:05] Speaker B: Right? [02:01:06] Speaker A: There is literally, it feels like lowest tech imaginable. But it's still an era where the oldest generations remember phones, television, radio. Like, it is something where it was like, now everything that in the first two films were like. Well, we're trying to. Trying to preserve, like, we're trying to figure out how to not only bring back normalcy, but also how do we preserve normalcy in a world that is still trying to figure out what this thing is in 28 years later? The answer is they failed. There's no way to go back to that. So I guess we just go all the way back around if we're going back to the Dark Ages. [02:01:47] Speaker B: Yeah. [02:01:48] Speaker A: Of. Yes, there's some electricity. Maybe there might be. Might be some this and that where it's like from the old days. I mean, like, there's a big moment where Spike, you know, feeling like he doesn't. He's not a man, he needs to be a man. He leaves his Power Rangers toy behind. But it's a Power Rangers toy. So, like, clearly it's. Yeah, it's still in the. It's the 21st century, but it's in 21st century in the UK, in this world is just this deserted, just barren grassy knoll that is. [02:02:19] Speaker B: Yeah, it's wilderness. [02:02:20] Speaker A: Yes. [02:02:20] Speaker B: All of it. [02:02:22] Speaker A: And it's like, considering the iconography of the original film, where it's like, that has this energy of, you know, the peace and the calm in a bustling city is like. Gives you a. Like an intensity and like kind of like this paranoia of something going to pop out of nowhere. There's a weirdness on how the serene energy in this movie doesn't necessarily scare you outright because. Because everyone in the film is not really on edge. [02:02:50] Speaker B: Yeah. [02:02:50] Speaker A: Like Aaron Taylor Johnson, when they go into the mainland and they're going to hunt zombies. [02:02:54] Speaker B: And he's really not like, scared of anything. [02:02:56] Speaker A: So fucking chill about everything. And to be fair, he's been at it for years. Jamie, literally just fucking one shots. Most things that come at him, not in a way where it feels like he's Hawkeye, but it does have this energy of, like, he's been doing this for a very long time. But, like, it's interesting to just, you know, have a scene where there is a Zombie that. It's a new zombie. It's basically a bloater. This. Where like this just huge, bloated, pale that is clearly like, you know, on the mainland. Clearly hasn't had human. Has had. Hasn't had human meat for a while. So it's been eating bugs. [02:03:33] Speaker B: Yeah. Wor. [02:03:34] Speaker A: Eating worms. [02:03:36] Speaker B: Crawls around in the mud. They don't run. They just crawl around on their bellies. [02:03:40] Speaker A: Probably lost all the muscles in their leg to keep them going. And so that becomes Spike's first kill. Is one of those bloaters. [02:03:47] Speaker B: Yeah. [02:03:48] Speaker A: And then we use this kind of time of like, there's really nothing to scavenge. There's really nothing. They're really like. This is all entirely almost kind of just like performative, at least on Jamie's side to kind of get to kind of test Spike to see if he's willing to, like, do like, almost like a testing ground, almost. Even though they're like, in real. They're in a real spot where, like, things could be dangerous. [02:04:12] Speaker B: Yeah. I mean, but it's a. It's a rite of passage. Like, everybody in. In their little isolated community, everybody has their first day out on the mainland where they. They're like. Their society is on this island that is isolated by a land bridge that only. Only appears during low tide. Whenever the tide comes back up, the bridge recedes into the ocean. And so of a certain age, everybody on the island has their day of going to the mainland to figure out, you know, what that's like. And so, yeah, the first half of the movie, not quite maybe, is basically. Yeah. Jamie taking Spike out for his first day. And that's where we get a sense of. Of like, where the world's at. And I think I. I think my favorite thing about this movie, not my favorite thing, but something I love about it is because there's a lack of. [02:05:03] Speaker A: Bones in this part. [02:05:04] Speaker B: Yeah, right. Yeah. But I really love the serenity of it because it's as crazy as this movie is in the violent sequences and all. And, you know, there's a lot of that frenetic energy when it's appropriate. There's also, like, you know, we're never in London, we're in the forest. The. Almost the entire movie. Everything's very low tech, very chill. [02:05:26] Speaker A: Yeah. [02:05:26] Speaker B: Mostly people are happy. Like, you know, most of the people we encounter are happy. Yes, there are problems. The mother's sick life is not of the highest quality. But, like, you know, they've got their little society and they're safe from the Threats. And, like, you know, in a way, all is well. [02:05:44] Speaker A: There are a couple generations into this. [02:05:47] Speaker B: Yeah. [02:05:47] Speaker A: So it's like there is a sense of normalcy in terms of just like, the people who do remember what time used to be, they've kind of made peace with the fact that they'll never be back to that. [02:05:57] Speaker B: Yeah. [02:05:57] Speaker A: While the newer generations have no idea what they're talking about, which we get later on in the second act, I think, is, like, the most interesting. Like, some of the. Some of the most interesting. Because I think pretty much all this film is interesting in different ways. The first act. Yeah, it's definitely, like. It's fun because this is the kind of stuff I think we all were kind of expecting to get in terms of just, like, Aaron Taylor, Johnson and Boy. [02:06:21] Speaker B: Yeah. [02:06:22] Speaker A: In the trailer being like, they're gonna go hunt. [02:06:24] Speaker B: Where father and son. [02:06:25] Speaker A: A lot of journey drama, a lot of set dressing. The father is going to basically be exposition. Exposition man. When needed. But what's so great is that the exposition he gives is pretty, like, one sentence. Yeah. And kind of leaves a lot for interpretation sometimes. Or also, like, you know, there are moments where he's like, what? He's telling Spike how to kill. He's like, aim for the neck. It's not head, it's not heart. Even though he does go for those at times. He, like, says, preferably go for the neck. I think, to hit vocal cords. [02:06:55] Speaker B: I think that's specifically for the bloaters. [02:06:58] Speaker A: Bloaters, yeah. But I think it's like, it almost has the energy. Like, if that's the case, it could also just be because, like, they scream and they make huge noises. And maybe the neck is also, like, they bleed out. But there's also an interesting thing where it's like, when he's saying the neck, even with the bloaters, it's like, if these guys are undead, if you just shoot them in the neck, they're not gonna bleed out. Like, they should be dead. Dead. Like, it almost has this implication that, like, there's more to them than just, like, reanimated zombies. Which goes into the fact that, like, whole. Wildly enough, this movie is doing so much. And I can understand that there's people out there that see this movie and go, I don't know if this movie's doing enough with the amount that they're trying to put on the plate what they're trying to give us. Because there's here. That is like. It's very British. It is very cheeky in Certain places. It also has like this lore about, like, the area. There's also. There's just like an energy. Like you get the stuff. Like we expected to get things like the Alpha because in the trailers we were like, there is a section in the tr. There are sections in the trailer where it's like there are just these guys that are just fucking looming at the hills. [02:08:11] Speaker B: Really big dudes. [02:08:13] Speaker A: Really big dudes with really big. Just like running around. [02:08:16] Speaker B: Well, the cocks weren't in the trailers, but. [02:08:17] Speaker A: No, the cocks were in the trailers and they are. [02:08:20] Speaker B: Thankfully, they were on the biggest screen. [02:08:22] Speaker A: They were on the big screen. Gosh, I have never seen so much dick swinging in a. [02:08:26] Speaker B: In a. A very appreciable amount of zombie penis in this film. I did not expect. [02:08:31] Speaker A: And again, it's another kind of lore thing where it's like, the film doesn't. Garland is not going to elaborate whether they have decided to rip off all of their clothes because of like a societal thing among the right zombies fallen. [02:08:43] Speaker B: To rags over the course of 30 years. [02:08:46] Speaker A: It's. What's so funny is I think Garland and boiling have made it clear, especially with this film, that a sentimentality for the original days is not going to be the lore of it. [02:08:57] Speaker B: Yeah, it is. [02:08:57] Speaker A: Anything going to be how they made that the ideas of, like taking style choices and aesthetics and like themes that they think they can kind of bring in and evolve into this movie. There is not going to be like, oh, my gosh. You know, there's this point and that could be kind of lore that we could bring back into, like the fact that the. The way that Weeks ends basically. Has it a text draw, like, no, it's fine. Europe's okay. Yeah, everything is okay except for the uk. And it's like. But then, like, Garland will do stuff where it's like, yeah, it doesn't. I'm not gonna tell you why they don't have any clothes on. But yeah, also this, like, you know, this. This woman's pregnant and she's a rage zombie. We're not gonna. [02:09:39] Speaker B: Yeah, we got a pregnant, pregnant zombie. [02:09:41] Speaker A: And it's like, like, excuse me. What the. Yeah, and it's like, yeah, but also like, you know, I. It's very much implied. She wasn't pregnant when turned. She has been become pregnant as a zombie. [02:09:52] Speaker B: She's clearly not been carrying a baby for 28 years. [02:09:55] Speaker A: And it's like, what? And it's like, oh, yeah. And also due to the placenta, if she gives birth to that baby, that baby is Totally fine. It has a chance. So, like, all these things are casually kind of brought up in the movie and then you're like, like, I need to sit down for a second. Like, if I already wasn't in a theater, I feel like I'd have to sit down and be like, you're throwing a lot. [02:10:15] Speaker B: Well, and it, like, it's a good way. Yeah, A lot of it just works because, you know, we are seeing everything from Spike's perspective, which is this. [02:10:26] Speaker A: Yes. [02:10:26] Speaker B: He's lived his whole life in this isolated community. He doesn't know what the world's like. And even the, the older people, people don't really know that much about how everything works and what's out there. They know, okay, there is. There are military patrol boats that surround the British Isles, kill things that leave. We know that there are different types of zombies, like the Slugmen and the. And the Alphas. [02:10:53] Speaker A: But like, I think Jamie at one point references that the French are probably like, have a ship out there. [02:10:58] Speaker B: Yeah. [02:10:58] Speaker A: So, like, other countries are the ones that are, of course, supplying the quarantine ships. [02:11:02] Speaker B: Right. And so, yeah, you get this very. It. I mean, it is a very limited view of the world, which is kind of cool because it's like we're all. We're us knowing way more than the characters or the characters being encyclopedias would kind of take a lot of the mystery out of films. And I think something that this, this movie is almost kind of. It reminds me of like a fantasy film in the amount of, like, kind of lore and like, oh, we're venturing to the mainland. Oh, there's a bone temple and there's a evil crazy doctor there who piles corpses and it's like, okay, this is like fucking Lord of the Rings without magic. [02:11:42] Speaker A: Like, yeah, literally when I, when we left the theater and I was like, I just want to know what other people are talking about with this movie. Because there's one point of contention on, like, other social medias about the ending of the movie, which we will talk about about. Because it is. It is something. It is truly something else. But like, I saw like on Reddit, someone was like, this film feels to me like a modern day fable. [02:12:05] Speaker B: Yeah, yeah, it is, it is. [02:12:06] Speaker A: It is a. Like, I agree with you on the fantasy, like, had the fantasy energy of like, it's a child storybook quality to it. [02:12:12] Speaker B: Yeah, yeah. [02:12:13] Speaker A: And it's this wild thing about how 28 Days later has like this kind of, you know, this energy of being like, we must fight to survive, but if we don't watch ourselves enough. We become the monsters themselves. Whether it's the military in that last film, that last act, or Jim going full pretend rage zombie, and almost becoming indescribed indescript from that and unidentifiable to Naomi Harris and Gleason's daughter. And years has this wild thing where the first act of this movie is what you expected to be to an extent, but done incredibly well. A lot of set dressing, both for the film and also for future films. Because in the fucking film, which was in the trailer, there's a scene where they find a guy that has a bag over his head. That's used as a jump scare kind of moment in the trailer. I don't remember seeing this in the trailer, but the guy has a fucking name carved into his back. [02:13:17] Speaker B: Yeah. [02:13:17] Speaker A: And they do not address that name. The dad says nothing about it, but there is something where he does say, like, there. If there are still people out here. [02:13:26] Speaker B: Yeah. People are doing this. [02:13:27] Speaker A: People. [02:13:27] Speaker B: They were like, maybe they left. I think he said something like, maybe they left this as a warning or something. [02:13:32] Speaker A: Yeah, but it has a name carved into it. [02:13:35] Speaker B: Yeah. [02:13:36] Speaker A: And then later in the movie, we see some graffiti with that name attached to it. And then you're like, holy fuck. This movie is just like, visually giving us all these pieces that there is something. There is something roaming these lands with this name in which we'll get back to mythical presence. But, like, that's the first act is like. Like having this little mission and, like giving us the things that we want, which is like, you know, we're going to do more. The other crunchiness, like you said. But now with like a $65 million budget. [02:14:05] Speaker B: Yeah. [02:14:05] Speaker A: And with updated iPhones, so it's going to look crisp and pretty, but still got a crunchiness to it. We get that lore. We get fucking alpha. We get. I. We could. I could have taken 100 more of these scenes. We get rage POV that is fucking infrared. Or just all red. [02:14:24] Speaker B: Yeah, yeah, it's. It's. Yeah. Not exactly pov, but it's like, yeah, it's what's going on. What are the zombies doing at night? [02:14:31] Speaker A: And they're fucking. The first time they use this scene, it is to watch them tear a deer to shreds. And I'm like, this is. I. This is horrifying. I want more of that. [02:14:42] Speaker B: Yeah. That stuff is unnerving. [02:14:43] Speaker A: It is. It is in. Because, like, it also, the film is even more bold and brash than the original was in terms of its Editing. [02:14:51] Speaker B: In terms of its shot, stylish flourishes. [02:14:55] Speaker A: You would never believe that these are men that are like at the youngest age of 50, like boil boil is 68. [02:15:02] Speaker B: It feels very rebellious. [02:15:04] Speaker A: Mantle is 70 and I believe Garland is like in his 50s. [02:15:07] Speaker B: Yeah. [02:15:08] Speaker A: Like these are, these are men who were like clearly punks in their younger years. [02:15:12] Speaker B: And they're still old guard at this point, but like. [02:15:15] Speaker A: Yeah, and they're punk as hell in this movie. This movie. Like, and again, for years, I think for years this, this term has been like, you know, become corroded and corrosive when talking about studio movies because of a certain film. But like, it does subvert expectations in a way that is like, in a way that doesn't feel like, haha, you're stupid because you didn't get this. It's more like, no, we know you're on board, but we also want it to be a surprise when you get into what this film is actually about. Because when Act 2 comes in and Aaron Taylor Johnson is not the focal point anymore. It is Spike, it is a sick mom. And it becomes this journey to, to go into the mainland, to survive the mainland and to find out what's wrong with his mom. Then it's like, I was not expecting this. Yeah, I'm kind of fucking down for it. And then we get side characters I wasn't expecting. We get a fucking antagonist that is. Has a beautiful name, Samson, who is. I'm not kidding. Right before we recorded this, it has just been announced that Samson will return. Blood Temple. [02:16:27] Speaker B: The Bone Temple. [02:16:28] Speaker A: Yeah, Bone Temple. Which is funny cuz someone. Yeah, today was yesterday was like, why don't they just kill Samson? It's like, you poor sweet child. We can't get rid of Samson in the Bone Temple. I need Samson in both films. [02:16:39] Speaker B: Samson. [02:16:40] Speaker A: Yeah, Samson it is. Samson is not only is he hanging dong, he is taking every breath out of the air as soon as he. [02:16:50] Speaker B: 7Ft tall. [02:16:51] Speaker A: Shin. [02:16:52] Speaker B: Yeah. [02:16:53] Speaker A: And even if that's a prosthetic penis, which I have no doubt that it probably is, because I think they. I think Boyle said. Because there's a scene originally, earlier in the film when the Alphas are initially introduced, it's not Samson, but it's like another Alpha that introduces the Alpha concept. That scene has like I believe naked women, naked men and naked children. And I believe what I heard was that Boyle, it's like, that's horrifying having like zombie children, zombie women, zombie men, all different types of zombies running at you, but full blown naked. That's fucking scary. But, like, with child labor laws, you don't want to. So they just are like, wait a minute. There's a loophole technically. If all the genitals are prosthetic. [02:17:39] Speaker B: Yeah. Right. [02:17:40] Speaker A: Or like, they can get away with that. So it's like, I think all those dons are prostitutes. [02:17:44] Speaker B: Okay. [02:17:45] Speaker A: Which is like. Actually, like. That is so fucking cheeky. [02:17:49] Speaker B: It's a lot of. That's a lot of prosthetic dogs. [02:17:51] Speaker A: And it's also like, well, why have kids there? It's like. It's fucking scary. Yeah. It works for the Seed. [02:17:56] Speaker B: Yeah. [02:17:57] Speaker A: We want to, like, what are kids gonna be exempt from getting killed and turned into zombies? [02:18:01] Speaker B: Like, come on. [02:18:02] Speaker A: But like, the first act. And I think the first act, I think, has a finale that is one of the most striking scenes in the film, which is them running from the Alpha on the. The causeway. Yeah. Which has the constellations of the. [02:18:16] Speaker B: The Aurora Borealis, which apparently they built. [02:18:19] Speaker A: Like a set to, like, do, like, to kind of have that whole cot, like, the causeway they had to build. [02:18:25] Speaker B: Okay. [02:18:25] Speaker A: And they could, like. They could kind of like, com. Like, control the water and, like, the composition. And I just want to see behind the scenes stuff because that scene was gorgeous in theaters and also terrifying because the Alpha runs like a Titan from Attack on Titan, the stiffest back possible. The dong is flat as can be, just flopping everywhere. And it's like this guy. If they trip once, which of course they have to because it's a horror film, but they end on that. And so we end on, like. So we see how an Alpha dies. We see what a normal, quote, unquote, normal day is out on the mainland then. So when Act 2 happens where Spike's like, I have to go on my own because my dad is a piece of shit, and he's lying to me because, like, basically what. What Spike finds out when he goes out with his dad is that there is a man in the hills that you do not want to mess with. [02:19:19] Speaker B: Yeah, he's a scary guy, man, because he piles bodies up and. [02:19:24] Speaker A: Yeah, his. His dad tells him a story about, like, a bunch. When he was a kid. He went out and saw this man with all these corpses, hundreds of corpses. And he waves at him with a smile, which is fucking horrifying. And then they ran away and they said, that guy used to be a doctor, a general practitioner, which is a. Like a primary care physician for us in yank terms. But. And so, like, you know, Spike hears doctor, well, my mother is sick. [02:19:53] Speaker B: Yeah. [02:19:53] Speaker A: She doesn't seem like anyone wants to really help my mother. So like, I guess it has to be me. And so he like stages a little fire. [02:20:03] Speaker B: Starts a fire fire, extracts the tower. [02:20:05] Speaker A: Guards, is able to like lead them out and then basically becomes a journey of his son trying to save his mother. And leads to, I would say is the slowest part of the movie. But I. I still was very interested. Still have some great cheeky kind of iconography where they run into a Shell gas station. But it. It doesn't have its S. So it just says, hell yeah. That has a great moment where the buildup of the gas. We run into a. Right before that scene. We have a scene where we get to see Samson go hog wild. [02:20:38] Speaker B: Yeah. He kills a bunch of foreign soldiers, Swedish soldiers. [02:20:42] Speaker A: He goes. He goes hog wild with his hog out in. In the dark. [02:20:45] Speaker B: In the dark. [02:20:46] Speaker A: And you see him rip off. [02:20:48] Speaker B: He. He just loves ripping off heads. [02:20:51] Speaker A: He rubs. You know what? I love watching him do that. [02:20:54] Speaker B: He rips off heads and takes the whole spine with the head every time. [02:20:58] Speaker A: It's an art piece in certain places. It's a. It is a mace. It's a makeshift mace in certain scenarios. It's also a warning in others. He. He loves his spines. But one of the soldiers gets away from that. His name is Eric. Yeah, he ends up being a part of the. The team for a little while. He. He is a lot of fun and is also again, some more good lore builds because he basically establishes to the audience outside of the UK it is basically what 2029 would be. I guess like modern society. Still. [02:21:32] Speaker B: It's fine. [02:21:33] Speaker A: Doordash, Amazon. [02:21:36] Speaker B: I got a smartphone. Yeah, with. [02:21:38] Speaker A: Yeah, there's a phenomenal. Again, Spike is a kid that again, kin actors can go either way. But Boyle has a trend of being really good with kid actors. He could do some really good shit out of them in his movies. A Slumdong millionaire is a great example of that and apparently millions is too. But like in this film, like Spike is when the phone gets brought out, the iPhone gets brought out. And like in. As an audience member, you go like, oh, that's wild. That guy has that. Spike has probably never seen anything like this. And Spike is looking at it like, what is this magical little piece of glass you have? And hilariously, instead of Eric being like, let me tell you about this iPhone, I just got like, this is what we have in our. He's like, let me tell you about. [02:22:22] Speaker B: This 28 phone rig over here. [02:22:24] Speaker A: He's basically like, nah, this is a fucking brick at this point, there's no. [02:22:27] Speaker B: Reason to have this constant rig cam back and forth as Eric is explaining what it iPhone is. [02:22:33] Speaker A: And Eric is funny, too. Eric is funny, too, in a way, because he's like. He is a soldier with a gun. So there is a moment of like, oh, thank God he can help us out here. But he's a kid. [02:22:42] Speaker B: Yeah. [02:22:44] Speaker A: If he's in his 30s, he's not showing it. Like. Yeah, he is. He is someone who basically became a part of the Navy because he wanted to prove a point to his friend that he wanted to do something with this life. And then he goes, now I'm stuck on this island with you guys. Guess whose life I just ruined? And then, of course, Spike goes with a delivery driver. [02:23:03] Speaker B: Yeah. [02:23:04] Speaker A: Like, that stuff is, like, where it starts to become. Because at this point is also where I think is the point of contention. I think is also the time where I start noticing both you and Adam are making like. Noticed, like, size or noises. And that is Jodie Comer. Yeah. Jodie Comer is doing, I would say, a thankless role. [02:23:24] Speaker B: Yeah. [02:23:25] Speaker A: For, I would say, 95% of this movie. I think she is a phenomenal actress. I think she. She very much has the energy, like, you give her what she needs, and she will do it easily. Like, I think, again, I. We've never talked about. [02:23:44] Speaker B: I think she. She bears the same burden in this movie that Robert Carlisle bird bears in 26. In that, you know, you've got this really talented actor who is killing it at playing what is inevitably going to be an annoying character. [02:24:00] Speaker A: Yeah. Well, like, yeah. Carlisle is basically written to be like, you can't have these normal questions in your head. You have to, like, keep everything a secret. Comer is written as you are sick. [02:24:10] Speaker B: Yeah. And you're constantly going to be fucking things up and forgetting what's going on and causing problems. [02:24:16] Speaker A: You're very lucid. And since it's basically back to the dark ages, no one knows what the fuck is wrong with. With you. [02:24:21] Speaker B: Yeah. [02:24:22] Speaker A: So you basically are just like, she's crazy. [02:24:24] Speaker B: Yeah. [02:24:25] Speaker A: And you're just doing these things. And it is. It was at moments where you guys. I could hear at times you guys being like, what the fuck are they doing with her? And at a certain point, I was like, yeah, I. I knew she had to be a bigger part of this role because Comer is so up and coming at this fucking point. Like, I still stand by that. In a film with great performances that, like, I understand why it didn't do well in theaters. I Think Jodie Comer is like the best part of like the last duel. [02:24:52] Speaker B: Uh, hu. [02:24:53] Speaker A: Like, I think she is someone where it's like, again, yeah, you give her. You give her the stuff. Or like in Bike Riders with her goofy fucking accent. I'm like, listen, she's done the homework. You're doing the best. Let her do this. She's an actress where like, when I see her, I'm like, good. She's getting more work in this movie. I'm like, you're not putting her in this to just sit in bed. There's clearly something more you want to do with her. So when they pull her out of bed, it's like, okay, cool. So she'd pour more of this. And then it gets to a point where it is like she. She is doing things out of her own control. There are things that she does on instinct. Like there is a scene where she basically bashes a bloater's head in when it nearly kills Spike. [02:25:32] Speaker B: Yeah. She saves Spike while Spike is sleeping. And then of course, I mean, she doesn't remember doing it. [02:25:38] Speaker A: She doesn't remember doing it, but she has the feeling that it probably was her because it's her son, but she can't remember. And it becomes a point, at least in the film for me, where anytime she's doing something, I'm like, she is doing such a good job with what she's given. But if this payoff as to what the finale is going to be in terms of what her. Because I was like, we have to find out what she's sick with. [02:26:02] Speaker B: Yeah. [02:26:03] Speaker A: And how they handle that. The execution of that, I think will make or break the journey to that. [02:26:09] Speaker B: Yeah. [02:26:09] Speaker A: And even before we finally get the prognosis of her, we do have the phenomenal scene, which is again, just all facial acting, basically, of when she helps the pregnancy, the birth of the infected baby. That's a phenomenal, very soothing, kind moment in a series that is not used to soothing, kind moments like that. But then when we finally get to the third act, when we finally get to see the thing that like both, like all three of us were like. [02:26:41] Speaker B: We were walking into the theater being like, you guys ready to go to the bone temple? [02:26:44] Speaker A: It's like it's in every poster. [02:26:45] Speaker B: Yeah. The main poster. It is just a picture of the bone temple. [02:26:48] Speaker A: It's the biggest part of the iconography in the trailer. [02:26:51] Speaker B: Yeah, it is. [02:26:52] Speaker A: Literally, if you've seen. [02:26:54] Speaker B: It's kind of funny because it's like, what's the poster for the bone temple? Gonna look like you've already taken the bone Temple for 28 years later. [02:27:00] Speaker A: I hope it's just the same too. [02:27:03] Speaker B: It's the same poster, but they had the Bone temple. I wanted to look at the logo. [02:27:06] Speaker A: Or it just looks like the Raid poster, but it's. Ray finds his body in front of the Bone Temple. Like, just looks like he's about to fight. Yeah. So like. But like, when we saw that, I think we all were like, that looks like that is going to be a nightmare. [02:27:21] Speaker B: Yeah. [02:27:22] Speaker A: Because that is a fucking temple of bones. [02:27:24] Speaker B: Right. [02:27:25] Speaker A: It is a whole section that is just bones on top of bones. And there's this crazy man who has built this thing. What the fuck is this? [02:27:33] Speaker B: Come to find out. This. This doctor who was fabled and built up as this horrifying psychopath figure has been building this area which seems to be like, isolated by some waterways. Yeah, it's kind of like a little island in between, like the forks of a river. Has built basically this forest out of bone structures of human bones. [02:27:58] Speaker A: Yeah. [02:27:59] Speaker B: That he has collected over the years and built these giant kind of totems, the giant columns out of bone. And in the center has placed this big pile of skeletons. [02:28:13] Speaker A: What we kind of expected, and I think a lot of people expected to be like, in a feeling of death and uncertainty and just kind of a scary like, oh, this is. You don't want to be in the Bone Temple. It ends up. [02:28:29] Speaker B: You don't want to be. [02:28:30] Speaker A: You don't want to be in the Bone Temple. It ends up being. This man has been making the Bone Temple as a celebration of life and death itself. [02:28:39] Speaker B: Yeah. [02:28:40] Speaker A: Memento mori. [02:28:42] Speaker B: Yeah. Yeah. The Bone Temple ends up being, I think for both of us, the like, strongest piece of this movie. Just the way that it. I mean, it is ultimately the heart of the movie in the. How Dr. Kelson, this character uses the Bone Temple to meditate on life in this bleak post society era of humanity, at least for the British people. And it's genuinely like, hard to overstate how fucking beautiful it is. I mean, not visually, although the scene in the Bone Temple. The scenes in the Bone Temple are really cool look at, but it's like genuinely sobering and arresting and beautiful the way the movie just kind of stops to, hey, let's talk about death for a minute. Like, let's talk about grief and life and honoring the dead. And it's like, what the fuck is happening in this movie? But I fucking love it. [02:29:52] Speaker A: And it shows how the execution and context can just change all these scenes We. The scenes we have seen in theater, like in trailers ad nauseam for fucking months. Where like at times like we thought we were gonna see a blood drenched Ralph Fiennes walking through his monument to death and destruction. [02:30:13] Speaker B: Yeah. Killing people. [02:30:14] Speaker A: We are watching a man who literally just wants to be left alone to make an art piece that really like is a. It is a monument to the people who have died in this epidemic. But also as a celebration of life. Because these people at one point were somebody to someone. They had thoughts, they had dreams, they had lives. And that doesn't. Because they're dead doesn't make them any lesser than. And it doesn't mean that life is any lesser than now because of where we're at. It becomes the most heartwarming thing in this entire fucking franchise. [02:30:48] Speaker B: Yeah. [02:30:48] Speaker A: From. And it's also the most heartwarming thing I think I've seen Garland do. [02:30:52] Speaker B: Yeah, right. Genuinely earnest and. Yeah. Just beautiful and wholesome. [02:30:58] Speaker A: Everybody dies. And that doesn't make life any less worth living. It's like the big thing about years, right? This whole thing about like a child realizing that this whole journey to meet Dr. Kelson is for. Not because his mother has breast cancer. A cancer that has either come from like her brain to her spine to like her body or like. Or vice versa and is metastasized. [02:31:25] Speaker B: Yeah. [02:31:26] Speaker A: And this again, I could not even joke. And it might happen when we get to the third film coming out. I think we could do a comorebi on just the fucking. This fucking scene is perfect. [02:31:37] Speaker B: Yeah. [02:31:38] Speaker A: Because of just the little things that happen here and there. But I love the fact that when we hear Kelson go. I don't have the proper tools. I don't have, you know, the machines. [02:31:51] Speaker B: Right. [02:31:51] Speaker A: But from my prognosis, your mom has cancer. And everyone in the audience is probably have this moment like. Yeah, like cancer in this like dark age with no doc. Like she's. And then it cuts to Spike's face. And this is where this kid again has already shown off how good he is. He shows on his face. He has no idea what this doctor is talking about. No one has told him what cancer is. No one has. [02:32:20] Speaker B: It's not relevant to his life. [02:32:21] Speaker A: It is basically a kid being told in a world where the likely cause of death is zombies is zombies, everything else that used to kill people is still killing people today. Life still goes on. Cancer still exists. Covid probably exists in this world. Like, it's like all these diseases that in most zombie films. [02:32:42] Speaker B: I'm sorry, but imagine in this, the 28 years world. [02:32:47] Speaker A: Yeah. [02:32:47] Speaker B: Like America and probably China and the rest of the world goes through the COVID pandemic in 2020. Meanwhile, the British Isles are just still completely in hell. The rest of the world's like getting the mildest taste of. [02:33:05] Speaker A: Has to. I feel like again, that's why I feel like this film's inception and probably real work happened after the pandemic. Because it's like this has the energy of like we are technically still in a Covid world. But like most sicknesses. [02:33:19] Speaker B: Yeah. [02:33:19] Speaker A: It is not like haha, we have successfully defeated this thing and it's never coming back. We just live a life. [02:33:25] Speaker B: Hey. We've now kind of figured out how to live with it. [02:33:28] Speaker A: You have this or that. It's probably Covid take a test prepared. [02:33:31] Speaker B: Better for next time or. Yeah, it's like it's not a solution. [02:33:35] Speaker A: Yeah. [02:33:35] Speaker B: It's a treatment. [02:33:36] Speaker A: And this is literally a country that is fucking quarantining and is basically like this is the new norm. [02:33:42] Speaker B: Yeah. [02:33:42] Speaker A: This is how it's always been. It's like it has that energy of like, if the pandemic had nothing to do with this writing, it's shocking how well it's just kind of tied into. [02:33:50] Speaker B: Yeah. [02:33:50] Speaker A: This thinking of like. Well, I guess this is what it is now. So like let's not pretend like, you know, it's not over or it is. It ever started like it is what it is. And to just have like this movie again remind me. And I think everybody. You and probably Adam in like ways where it's just like the best zombie stories are just about the people realizing that the shit that has always been around is still around. It just has also zombies in it. [02:34:20] Speaker B: Yeah. [02:34:20] Speaker A: And how do they deal with that? [02:34:21] Speaker B: Yeah. Life is still life. [02:34:24] Speaker A: Yeah. So like in the bone temple, that moment of the prognosis and just his response and Jody, I think having now like you have this rich. Like this retroactively realizing. Oh fuck. There's probably a lot of moments when they were together where she was a lot more aware than she was making on to be sure. Where she really just like is. Is still very lucid, is still very much forgetting things and is out of body. But when she goes. I think I've always known that to him. I just didn't know how. I thought somebody would tell you. Like. Like it's very clear that like she knew that this journey with her son might be her last. [02:35:00] Speaker B: Right. Right. [02:35:01] Speaker A: Not just because the zombies eater, but like this prognosis. Where do you go from there. [02:35:05] Speaker B: Right. [02:35:06] Speaker A: You're answering a question that she didn't have an answer to, but she kind of had the feeling that it was this. And now that she knows, it's like, well, what do I do now? [02:35:13] Speaker B: Yeah. [02:35:14] Speaker A: And that leads to just the most beautiful, like, next 10 to 15 minutes of just like, this is the best in the franchise so far. Of like, this, like, acceptance of death. Acceptance that, like, Spike wants to do. Spike wants another adventure to find the remedy. And Kelson is like, you did everything you can. I can't do anything more. And your mother knows you did everything and she's proud of you and loves you. But, like, yeah, there's only one thing we can do, like, and that's, like. [02:35:50] Speaker B: To give her a good death. [02:35:52] Speaker A: Like, to let her choose. [02:35:54] Speaker B: Yeah. [02:35:55] Speaker A: And to have. Again, we are in a scene where we have watched this man burn Eric's spine and skull back down to washable level. And we watch this man watch this skull a character we sold 10 minutes prior and then be like, you know, you were a good man, Eric. And then puts him on his little bone temple wall. And it's not like I want to. [02:36:17] Speaker B: Talk about Eric for a minute because something I love about this movie, I thought. I mean, Eric is a fun, kind of like, expendable supporting character who shows up in the middle. It's like, okay, he's an asshole. I get to hate him for a little bit. And then I get to enjoy watching him brutally die at the hands of Samson. And we all get to have our fun as an audience. Cool. But then the movie brings Eric back as a head with a spine attached to it that Dr. Kelson picks up. He's like, oh, I need that. And you think he's this weird little collector man. But then he cleans it. And we watch this ritualistic process of him, you know, boiling off the, you know, fleshy parts and leaving only the skull and placing it on the. The bone temple pile. And the thing I love about that is like, I can't remember what the line is. But he, you know, Spike. Kelson asks Spike about Eric and all Spike really says is, like, he saved my life. And Kelson's like, okay, then he gets this honor. Like, you know, that's all that matters. He lived through this and helped his fellow man. He gets the honor that the rest of us should get. [02:37:35] Speaker A: He gets the main totem, which is like this Christmas tree shaped monument in the middle of all of these little statues of totems of other skulls. [02:37:46] Speaker B: And it's just this beautiful Little pause in the movie. And it also marks kind of the tone shift of like, okay, it was silly when Kelsen picked up Eric's head off the ground and was like, I'll be to taking this. [02:37:57] Speaker A: Yeah. Because like he gets introduced when Samson gets tranquilized. [02:38:00] Speaker B: Yeah. Yeah. [02:38:01] Speaker A: And like Kelson is basically like, oh, this is some blood. This is eidine. [02:38:05] Speaker B: Yeah. [02:38:05] Speaker A: Like I. It's prophylactic. They don't like it and it's like they don't kill Samson and it has this energy is like Rafe is like. [02:38:12] Speaker B: Who is this guy? He's just tranquing zombies. [02:38:15] Speaker A: He's like. He's like, why should I kill him? He's a living creature. [02:38:17] Speaker B: Yeah. [02:38:18] Speaker A: Like, it's like this weird thing. [02:38:19] Speaker B: He's as much a part of this world now as I am. Yeah. [02:38:22] Speaker A: And it's like, oh, yeah. Now it's like we're finally getting some I am legend. We've never gotten from I am legend. [02:38:28] Speaker B: Yeah. [02:38:28] Speaker A: Where it's like they are now their own society. They are now evolved into. What the are you guys? What are you weird, pale, not rage induced people doing in our place? Get out of here. Because Samson becoming more. Probably more of an antagonist going on because of the fact that like, it's his baby. [02:38:48] Speaker B: Yeah. [02:38:48] Speaker A: That gets, you know, delivered. It is now like with Comer and Spike and like, it is, it is interesting the fact that like killson is like this. We can't. It is a life. A life is a life. Even if it's Samson who is like ripping spines out of people's bodies. [02:39:04] Speaker B: Yeah. [02:39:05] Speaker A: But like to have that scene and to do like the washing and to have like. Yeah. This moment of respite and be like. I mean, I saw a tweet that I said. Can't that. Can't say it any better. There's just a picture of the bone temple and they're like. I don't know how I could ever explain to anyone this is the most calm and the most relaxing place in. [02:39:24] Speaker B: The entire beautiful thing in the whole. [02:39:26] Speaker A: Is the most safe I've ever felt. [02:39:28] Speaker B: Yeah. [02:39:29] Speaker A: Is the bone dimple? [02:39:31] Speaker B: Well, even just on a not superficial but visual symbolic level. I just love the way the movie, basically, I mean, literally washes away the kind of fear or dread association that we have with just the image of a skull or a skeleton. [02:39:53] Speaker A: Yeah. [02:39:53] Speaker B: Literally cleans the skull of that stuff and turns it into a beautiful remembrance. And then it's like, you know, we just humans, culturally, we all see skulls as like, oh, that's Halloween. That's death. That's grim. That's scary. [02:40:09] Speaker A: Shakespeare. [02:40:10] Speaker B: Yeah. [02:40:10] Speaker A: That kind of shit. [02:40:11] Speaker B: And in this. No, it's beautiful. That's how we get to remember them. That's all that's left on this earth. That and our memories. [02:40:19] Speaker A: The second act has, I think, the biggest laughs, the biggest comedic moments in the film through Eric. Until Eric gets his spine pulled out. And then Kilson just like his. Rafe. I mean, again, Rafe in any movie, it's just like, oh, man, you better. It's like, if you don't give him anything, I'll be fucking pissed. But Rafe comes in and is like, all right. If they even think about harming you, I will go to the bone temple myself and I will destroy it, because you are now. I just want more of Kelson. [02:40:51] Speaker B: And I just. [02:40:52] Speaker A: He just, like. He shows up and there's now, you see, I think now more apparent ever the multifaceted, faceted, like, kind of scene structure of, like, how a premise can be so heartwarming as well, so darkly comedic as well as how it's so well written. Like him wiping off, like, pulling off the remnants, hunks of hair and stuff, but doing it so gently. Like, the darkly comedic thing is the fact that, like, this is a man with a human skull of a character. We just. [02:41:22] Speaker B: 10 minutes ago, we were just hanging out with this guy, laughing at him being an. [02:41:26] Speaker A: He's just, like, picking off little pieces and treating it with such care. And then later, we get the whole thing about the baby and how, like, this baby was an. This is a baby made from two infected zombies, and it's clearly not infected. And then Rafe Kelson, with the most sincerity in the world, just goes the placenta. [02:41:48] Speaker B: Something. He says something about, like, the beauty or the strength of the placenta. [02:41:51] Speaker A: I knew it would. I knew could come to this. And I'm like, that is hilarious. It answers nothing. But it also is. [02:41:58] Speaker B: Raises. Only Raises questions. [02:42:00] Speaker A: And I want. Yeah, I love that. Yeah, it's just like that. The bone temple just wonders. [02:42:05] Speaker B: Placenta. [02:42:06] Speaker A: Yeah. He just. He says it so sincerely. [02:42:09] Speaker B: Yeah. [02:42:10] Speaker A: And it's just like there's this beauty, there's this emotion. There's some comedic moments because they're also, like, when they're going on the bridge in the water and they're cool, like. [02:42:19] Speaker B: Yeah. [02:42:20] Speaker A: They don't really like water. I don't know why. [02:42:22] Speaker B: Right. [02:42:22] Speaker A: Or, like, he just. Every time he does, like, when he does the bone temple, like, what he does, like, the little skinning and the washing of earcs, he puts it on there. And he just rubs some more e. Like iodine on him. Just like he. It just when it gets to the moment where Spike. Where, you know, Jody Comer goes off into the darkness with Kilson, and Kilson comes back with Comer skull. And, you know, I think a lesser film would have Spike be mad at Kilson. He would hate him because of what he did to his mom. But Spike, in this moment, this is the moment when he becomes a true adult. [02:42:57] Speaker B: Yeah. [02:42:57] Speaker A: Where he accepts that this was his mom's choice. Death exists, but that doesn't mean you forget they live on in you. [02:43:06] Speaker B: Yeah. [02:43:07] Speaker A: And that is the moment when he is like. When Kilson his like. Like pick a spot. And Spike. It gives me chill. I'm getting shivers now thinking about it. It's like the best. This is where, like, the comorebi would just be like. This is where it's like I. He climbs the biggest monument of the bone temple and puts his mom at the very top. And it's like, I love you, mom, and comes back down. And it's like, this is the. This is the climax of the film. The climax of 28 years later. [02:43:35] Speaker B: Nobody likes is getting attacked. [02:43:37] Speaker A: Yeah. There's no one getting their head smashed in, pretending to be a rage zombie. There's no mansion. [02:43:42] Speaker B: This is no military. Yeah. [02:43:44] Speaker A: The climax is the most mature conversation about life, death, how cruel life can be. How cruel death can be, but how at the same time, it can't take away how beautiful living this life should be and people that you care about. Leading Spike to leave at his own accord with Kilson and make the decision to take the baby back to his settlement, give the baby to his father and the settlement, and then just be like, I cannot come back. I need to figure this out myself. Which leads to, I think, this beautiful moment of Spike being like, he's an adult now. He doesn't have to do anything else. He is. He. This is the end of his. This is the end of his story for now. [02:44:35] Speaker B: Yeah. [02:44:35] Speaker A: And I fucking love that. And that's the end of his story. However, we get another five to six minutes of an epilogue that I talked about earlier. You see throughout the film the word that we kept seeing on the body, that was carved into the body, on the graffiti, and the kind of. The implication that they were sent as a warning, that there's other probably some living people out there, but we don't really mess with them. We get introduced at the very end of this movie after we've seen that Spike is better aimed now he's more confident than ever. We get introduced to who has been having one hell of a 2025. We get introduced to Jack O' Connell in a fucking tracksuit and his cult of Jimmy, or the Jimmy's, whatever the fuck they're called. And these fucking Power Ranger colored motherfuckers. [02:45:32] Speaker B: They'Re all in like tracksuits and bleach. [02:45:34] Speaker A: Blonde hair, start coming down parkour to the Teletubbies. Music that turns into punk and then becomes this crazy wild. It goes from 28 days later to fucking Dead Rising. [02:45:51] Speaker B: Yeah. [02:45:52] Speaker A: I'm like, holy shit. And then they're like, weird. This. I'm Jimmy. These are my. These are my team, my crew. Yeah, I think you guys should come with me. And I'm like, holy fuck. And someone like, literally on Reddit was like, that motherfucker is Peter Pan and the fucking Lost Boys. There's Fuck it, A gang. And it's like. And then I was like. Like, they all have a specific look. [02:46:14] Speaker B: Yeah. [02:46:15] Speaker A: It is not even as someone who has no idea what that look is, I was like, what the is that look? And then I looked it up and I actually was listening to a podcast today about the episode. They are all mimicking. They are all evoking a radio personality that was also like a Mr. Roger, not Mr. Rogers, but like a child. Like very much like a philanthropy. Like a philanthroper. Like, was a big hit with the humanitarian. Like, was a big thing for kids named Jimmy Savile. But what's so fucking crazy about why they're all dressed like that? Because I saw people go, this is one of the funniest fucking ways to end it. And if you're fucking British, I don't know how you are processing this right now. Because Jimmy Savile died in the 2000 and tens. [02:47:06] Speaker B: Yeah. [02:47:07] Speaker A: Jimmy Savile, after his death, was found to prompt. Be a horrendous human being, like child sexual assault. [02:47:19] Speaker B: Yeah. [02:47:20] Speaker A: But that wasn't found out until the. [02:47:22] Speaker B: 2010S, until after he was dead. [02:47:25] Speaker A: He is from the northern uk. [02:47:27] Speaker B: Okay. [02:47:28] Speaker A: So there's this energy, there's the. I would say the funniest, darkest bit in this movie is that these kids. Because we find out the very beginning of the movie when there's like the Teletubby scene, one kid survives that ends up being Jack o' Connell. [02:47:44] Speaker B: Yeah. Jimmy is the. Is the surviving kid from that opening scene. [02:47:47] Speaker A: He has a cross that he got from the local priest, which I also believe was his father. [02:47:53] Speaker B: Yeah. [02:47:53] Speaker A: I think it's the Joke is that his father is the father. Father of the church. And then we see him again. His cross is inverted. [02:47:59] Speaker B: Yeah. [02:48:00] Speaker A: And they are all mimicking of someone who probably was a bit of an icon to them as children that they don't know was a huge piece of when they was. Who were alive. The podcast I was listening to kind. [02:48:16] Speaker B: Of like, yeah, in this world, they never would have found. [02:48:19] Speaker A: They would never would have found it, which is such a dark, niche British joke that I kind of be like, holy fuck, that's rad. [02:48:26] Speaker B: Yeah. [02:48:26] Speaker A: But like, I. Someone. The. The podcast I was listening to is Blank Check with Griffin and David, which I love. And Griffin Newman, who's like. Who's a pocket podcaster. And the actor said it best. It's almost like, in American terms, if they all showed up in Cosby sweaters and called themselves the Huxtables. [02:48:43] Speaker B: Yeah. [02:48:44] Speaker A: Like, in that era, they wouldn't have known what Cosby was a piece of shit. [02:48:48] Speaker B: Yeah. Yeah. [02:48:49] Speaker A: So we're seeing a gang whose whole fashion sense and ideology possibly is built off of a man that they didn't know was an absolute monster. [02:48:58] Speaker B: Yeah. [02:48:59] Speaker A: And that is. And it ends with. [02:49:01] Speaker B: Which could well be the notion of our Jimmy in this film. Like, he's. [02:49:07] Speaker A: That could be, like, the most iconic. Like, the most ironic thing is, like, we are introduced through Jimmy, through his name being carved into a dead body or a zombie. [02:49:17] Speaker B: Yeah. [02:49:18] Speaker A: And also, the end is nigh. Or like, yeah. [02:49:21] Speaker B: Something like, Jimmy will save us. [02:49:23] Speaker A: So he's a bit of a cult. [02:49:25] Speaker B: Kind of a messianic. [02:49:26] Speaker A: And to have it be like, we'll do cult leaders. We're gonna have a fun goofy. Like, you weren't expecting this, because going into this on Monday, everything I was hearing on Twitter, the one thing that kept coming up was, I fucking hate the end ending. I love the ending. If you like that ending. [02:49:45] Speaker B: Very polarizing. Yeah. [02:49:47] Speaker A: I saw someone say, if you don't like this ending, you don't like fun. And so I'm like, what the does that mean? So, like, we're in the theater, and when we get to the end of Spike's Story, I'm like, this movie is. And then it goes 28 days later. And I went, oh, yeah, we're still going. [02:50:03] Speaker B: Yeah, yeah. [02:50:03] Speaker A: And then I'm like, wait a minute. The day we saw the movie, I think they revealed, like, Jack o' Connell. And I was like, we haven't seen Jack. [02:50:14] Speaker B: Yeah. [02:50:14] Speaker A: Is he. And then as soon as I'm like, is he Jimmy? He shows up like Peter Pan out. [02:50:20] Speaker B: Of nowhere, blonde wig. [02:50:21] Speaker A: And I'm like, this movie is yet another 2025 horror film with cunnilingus and a surprise Jack O' Connell. [02:50:30] Speaker B: Yeah. [02:50:32] Speaker A: And listen, I think your wife would agree with me that anytime I see a skins actor, I'm gonna fucking lose it. Like, I just like to see that man have the year that he's having and to just be like the tail end cliffhanger. Like, by the way, see you in January at the Bone Temple. Yeah, it's like you bleach blonde haired motherfuckers. [02:50:53] Speaker B: Right? [02:50:54] Speaker A: And now that we know that the they are gonna lead into the next film and we also now know that the plan is. Because another thing we didn't really talk about is that early on when the trailer was released, there is a zombie that kind of looked like Cillian Murphy. [02:51:10] Speaker B: Yeah. [02:51:11] Speaker A: It was never meant to hint that Cillian Murphy was in the movie. [02:51:14] Speaker B: No, it was just an unexpected. An unfortunate resemblance. [02:51:19] Speaker A: Yeah. [02:51:20] Speaker B: Nobody expected the audience to think, oh, that's Killian Murphy. [02:51:24] Speaker A: Boyle literally went like, oh, I didn't even even think about that. We just felt we found someone who just looked like a very hungry Cillian Murphy. But we now know that now that they're going to do a trilogy, the second film is already done called of course the Bone Temple, which I have to look at AMC every five minutes to see if they now let reservations for the Bone Temple, because I would love to. [02:51:46] Speaker B: The furthest advance seating of all time, please. [02:51:50] Speaker A: What are we going to do with the Bone Temple in December? Come on now, let's be real here. But like, we now know that it's directed by Nia Dacosta, which I'm pumped. [02:52:00] Speaker B: For, I really enjoyed her Candy Man. [02:52:02] Speaker A: I love Candyman. And even though the movie didn't get a lot of love because of just being pushed back to 87 times, I thought the Marvels was fun and she had a fun time with that. I thought it was better than Captain Marvel. So, like, I think she's very. And then again also, she is a Boyle fan and she has said on blank check that 28 days later is her favorite Danny Boyle. [02:52:23] Speaker B: Oh, okay. [02:52:24] Speaker A: So, like, I'm excited to see. Yeah, she gets what she does with that. I'm excited for her. But also she is. She is now, I think today said that the goal is in two. It ends on another epilogue coda introducing Killian and then three is all Killian. [02:52:40] Speaker B: Yeah. Boyle said at the start of June that the end, the second movie was going to end with Killian And I think his quote was something like. And hopefully Killian gets us financing for the third movie. [02:52:55] Speaker A: Yeah. Well, the thing is the film right now it's on a 65 million dollar budget. It's already made 66. [02:53:01] Speaker B: Yeah. [02:53:02] Speaker A: And I feel like it's. I feel like with how Sinners did well with an exponential time in theaters and I think with this film having the buzz it has like the Rotten Tomatoes for this is kind of nuts. Surprisingly high. Surprisingly high for a horror film like this. Especially a horror film that is uncompromising and weird. [02:53:20] Speaker B: Horror film. Yeah. It's a strange and silly and wild. [02:53:23] Speaker A: But I think it especially with the killing of it all as well as just like how the film is being talked about and how you know it. I think I would hope I'm going to. So everyone here that knock on wood on that I won a third film. Not even just because of the. The killing of it all, but because out of all the films we've gotten so far, this is the world where it's like I am the most excited to see what builds out of this world because it doesn't feel like it is constantly being like, oh, what's that? Yeah, don't worry, come back for Bone. [02:53:53] Speaker B: Yeah. It doesn't teasing you, it's just. It's leaving pieces out there to pique your interest. [02:53:59] Speaker A: Like 28 years later clearly had Bone Temple built in. As if we do this movie, you gotta give us at least another one. But 28 years later still ends in a way where it feels like if for some reason Bone Temple just crumbled. Which how could it? The Bone Temple could never crumble. It can stand on its own. And so it's nice. And I also love the fact that at least, even though it's funny that it's gonna get its own trilogy. Years feels like the perfect send off to this trilogy because we go from like holy, what do we do in this situation? Weeks is like we have tried to contain this all bleak. [02:54:35] Speaker B: It's all over. [02:54:36] Speaker A: Yeah. Then years is just like we are here. [02:54:38] Speaker B: Yeah. We just have to exist. [02:54:41] Speaker A: And now we are transitioning from now. We're not trying to contain something that we can't contain to now. Like we just got to live with it. [02:54:47] Speaker B: Yeah. [02:54:47] Speaker A: And now we're going to get a trilogy of like this is how they live with it. [02:54:51] Speaker B: Yeah. I'm also very intrigued by this trilogy. More so than I thought I could have been before seeing this movie. Boyle just said doing press for this movie. So just the other day, that or Maybe Garland said this, that they view 28 years later as a film about the nature of family and that they viewed the Bone Temple as a movie about the nature of evil. So I think that's pretty cool selling pretty cool sales pitch. [02:55:30] Speaker A: I was waiting. I realized my phone couldn't buzz. So if AMC was trying to let me know the Bone Temple was ready, I couldn't. That is fucking insane. [02:55:37] Speaker B: Yeah. [02:55:38] Speaker A: Because again, like, that's the thing that was so funny about when people are complaining about the ending. I was like, guys, did you forget about the fact that this man is named Jimmy in the first thing we see of his name is the carved. Someone carved his. So clearly the whole. [02:55:51] Speaker B: He's got a pres. [02:55:52] Speaker A: Kung fu parkour is to let people's guards down. [02:55:56] Speaker B: Yeah. [02:55:57] Speaker A: And be like, they're capable. How about we work together and they're also capable of killing other people. [02:56:02] Speaker B: Yeah. [02:56:02] Speaker A: So, like. Yeah, I, I, that's rad. Because I think Garland. Yeah. Is I think writing. Wants to write all three of these. Bo could do the third film. I don't know if he, he's going to, but I know he, you know he's not directing Bone Temple. [02:56:16] Speaker B: Right. But he and Garland are both producing it. [02:56:19] Speaker A: Yeah. [02:56:20] Speaker B: Yeah. [02:56:20] Speaker A: And Killian is producing all of these. And also Boyle said that they want three to be like the end of the Killian rainbow. I think they wanted, like, one to be like, he's back in the series. He's execute producing Two will give you a little taste. [02:56:35] Speaker B: Yeah. [02:56:35] Speaker A: And then if you keep following that rainbow, you get that Killian pot of gold. Get the pot of gold. Which is deal Oppenheimer himself. [02:56:44] Speaker B: Yeah. [02:56:44] Speaker A: Which again, is. What's Again, I think you would agree with me on this is so fascinating because I'm like, I don't know how the they bring him into this in a way that is like, like how what? How do you bring him in in a way that is like, I just, I just don't know how he fits in. Like, I love the fact that, like, I'm just like, I want him. [02:57:04] Speaker B: Yeah. [02:57:04] Speaker A: But I'm like, I kind of love the world you built in just years that if you bring in Killian, I'm, like, kind of wondering how he vibes with this. [02:57:11] Speaker B: Right. Like, is he still in London? Where has he been out of the country? Has he come back? [02:57:18] Speaker A: Yeah, it's just I'm very curious because. [02:57:20] Speaker B: I think my brain could literally do anything because it's been fucking 28 years. Like. [02:57:25] Speaker A: Yeah. Because I think when years was first kind of Announced. And they announced the cast. There's a part of my brain that was like, what if Brendan Gleason's daughter is Jody? And then I, like, slap my brain and I'm like, let's stop fucking. There's no Force Awakens shit. Stop doing that. Like, I know your brain, because it's built like that. Because legacy sequels for the last, like, decade have been like that. Literally, in December will be a decade since Force Awakens kind of introduced legacy sequels. [02:57:49] Speaker B: Maybe. Maybe the modern temple will spend the entire film explaining to us that Spike comes from nothing. And then the third film will reveal that he was. He's the son of Frank's daughter, Samson. [02:58:06] Speaker A: The whole time. [02:58:07] Speaker B: And. And Samson is Killian's brother. You just said it there. [02:58:10] Speaker A: The third film is called 29, 28 Years Later. Son of Samson. [02:58:15] Speaker B: That's the third. [02:58:16] Speaker A: Yeah, it's the third film, honestly, would. [02:58:18] Speaker B: Be a rad title, Son of Samson. [02:58:20] Speaker A: But, yeah, I mean, that's 28 days weeks years trilogy. Like, that is something that is, like. I didn't expect going into this to be talking. We are fucking nearly three hours into this fucking thing, which I'm so glad we. To a degree, I'm glad because it's like, there's just so much to talk about here. And it's also like, you know, going out of years, I was like, am I going to be down on this movie the more time I think about it? But the more time I've thought about these last few days, I'm like, this might be one of my favorite films of the year. It's not number one, but, like, I mean, it is. It is. [02:58:54] Speaker B: It is not that strong of a year yet. [02:58:56] Speaker A: No, no, it's like it is. These last few weeks have had some really great movies that I feel like are just, like, great in different ways. And I think 28 years later is, like, great in the sense where it's like, Boil, Garland, Mantle. They've all been able to finally just get the, like, a blank check as, like, we're gonna go for it. It's gonna be weird. It's gonna be punky, it's gonna be uncompromising. But it's gonna be heartfelt, right? It's gonna be the most emotional of the three films. And you know what? It's gonna be banging. And we are gonna do two more of these. So, yeah, I'm excited to see what more news we get about Bone Temple as well as, like, what, the third one? Because I assume, like, considering how cheeky they've Been with Bone Temple. If they do announce three, they're just gonna call it part three until. Yeah, probably closer to bone to 28 years later. [02:59:50] Speaker B: Jim versus Jimmy. [02:59:53] Speaker A: The revenge of Jimmy. Oh my gosh. But yeah, now that we have committed for these last few weeks to talk about, get into 28 days in the franchise and just get excited to talk about a modern day a horror icon that has been around for 20 years. And now we get to see the new installment of in July. We are getting. Yeah. So we are getting three franchises that are all popping off in a way that I think none of us really neither one of us would have expected two to three years ago in terms of like the confidence from all three of these. One of those films is Jurassic World Rebirth, which we are not going to cover as a prequel. We might talk about as like a review quickie. Definitely watch it at some point. But there are two other films that we're covering there. In late July we will be talking about the not so Fantastic Four which is basically covering the three other attempts. [03:00:56] Speaker B: At introducing Marvel's first family to the big screen. [03:01:00] Speaker A: Yeah. As a big pulp culture icon. The never released one in the 90s, of course the Tim Story film in the 2000s. Then of course the one that was notoriously cult fan for Josh Tren 2010. But before we get to that, got another superhero. We have two huge fucking superhero movies coming out in the same month. And in honor of James Gunn's Superman, we are doing what I would call a classic odd trilogy trilogy which is we are going to cover the classic Superman sequels. Because here's the thing. Richard Donner's Superman is an icon flaws and all the reason why we have modern day movie like superhero movies to an extent is through the success of that 70s film. [03:01:50] Speaker B: Yeah. But it got three more movies. [03:01:55] Speaker A: Got three more movies in let in about a decade. [03:01:58] Speaker B: Yeah. None of which are remembered nearly as fondly. [03:02:03] Speaker A: No. But we will absolutely, I believe on July 12th be talking about. Oh my gosh, it is. And it's his favorite birthday present. Because he really, he was like, I. [03:02:15] Speaker B: Have enjoyed the hell out of all three of these. [03:02:18] Speaker A: Look, he said, Logan, what I really want for my birthday is to answer the question, how could Richard Pryor kill Superman? And I said, Andy, I've got great news for you. [03:02:28] Speaker B: Yeah. [03:02:29] Speaker A: Because on July 12th we will be covering Superman 2, Superman 3 and Superman 4. A quest for Peace or the quest. A Quest for Peace 4. Three films that you know, not including which we will talk about spin offs at the time, alternate cuts that don't come out until decades after the virtual film come out. [03:02:57] Speaker B: Yeah. [03:02:57] Speaker A: We will be talking about. So Richard Donner has created, you know, the first, truly phenomenal at the time, modern superhero blockbuster in the late 70s. How the fuck do you top it up? And the thing is, is. Yeah, the answer is you don't top it. You just follow it up. [03:03:18] Speaker B: Keep trying. [03:03:19] Speaker A: And the process of how they follow it up with each film is truly more weird as it goes on. [03:03:26] Speaker B: Yeah. Weirder. [03:03:27] Speaker A: And yeah, I'm excited. I'm excited to talk about it. [03:03:30] Speaker B: Yeah. Oh, I was wrong. It's the quest for peace. [03:03:33] Speaker A: Okay. So it is the quest for peace. Still a piece of shit, but it is. It is, in fact, yes, quest for. [03:03:39] Speaker B: A piece of shit. [03:03:41] Speaker A: But it will be a fun talk nonetheless. So tune in on July 12th when we talk about the Superman sequels. But until then, I'm Logan Sowash. [03:03:50] Speaker B: And I'm Andy Carr. [03:03:51] Speaker A: Thank you so much for listening. Bye.