[0:00] Today's video is sponsored by Flicks,
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[0:06] other. More on that at the end.
[0:12] VHS tapes have a limited lifespan, and
[0:14] the more you play them, the more they
[0:15] degrade. It's not even a statement about
[0:17] this being late into the apocalypse. I
[0:18] had plenty of well-loved VHS tapes, and
[0:20] my apocalypse was much later on. The
[0:23] point is, was Tinky Winky actually gay?
[0:25] Was Jerry Fwell's little gay panic
[0:26] theory correct? I guess we'll never
[0:28] know. Most of the kids look a little
[0:29] worried, but seeing the older girl
[0:31] crying is rough. She's definitely old
[0:32] enough to understand what she hears the
[0:34] adults talking about. And since we're
[0:35] back at the beginning of the outbreak,
[0:36] some of the footage is a little low res
[0:38] and grainier. Children have certainly
[0:39] died in the two previous films, but to
[0:41] have the first real attack by the
[0:42] infected be a room of children is a
[0:44] choice and sets the tone. This should
[0:46] have prepared me for the Bone Temple,
[0:47] but alas, it did not. It makes more
[0:49] sense at the end, but the first big
[0:50] cross we see is upside down.
[0:51] >> This is a glorious day of judgment.
[0:54] >> I get it. Especially if you devoted your
[0:56] entire life, profession, even where you
[0:57] live to a religion. And then it all
[0:59] spirals this fast before you even have
[1:00] time to consider.
[1:01] >> Keep this with you. Always have faith.
[1:04] >> He does, just not in who you intended.
[1:07] >> Why have you forsaken me?
[1:09] >> Apparently, he's a system of a down fan.
[1:10] And we freeze for about four frames on
[1:12] the upside down cross the way he'll
[1:13] prefer it as an adult.
[1:18] >> Young Fathers were not a group I knew of
[1:20] prior to this film, but I'm a fan now.
[1:22] So many interesting choices for the
[1:23] score that make it feel connected to the
[1:24] first two films, but also very much its
[1:26] own thing. And the triumphant sound of
[1:28] Promised Land during a deeply ominous
[1:29] scene really makes this a memorable
[1:30] opening. I'd live there even without the
[1:32] apocalypse.
[1:37] >> I mean, I'm turning into a real fan,
[1:39] young fathers. Even in dystopia, got to
[1:41] do them chores. But you love to see a
[1:43] little community all working for each
[1:44] other. They live in a society, am I
[1:46] right? artwork that would get you sent
[1:48] to the counselor's office at Spike's age
[1:50] is now a prerequisite for existence. I
[1:52] get it, man. It's a sad day when you
[1:54] feel you're too old to bring it. But
[1:55] even the hesitation is a reminder of how
[1:57] young he actually is for what's coming.
[1:59] That quick moment where you think they
[2:00] might be keeping an infected mom chain
[2:01] to the bed upstairs.
[2:02] >> You're going off the island to the
[2:04] mainland.
[2:05] >> Yeah,
[2:05] >> there's a baby.
[2:07] >> He's 12.
[2:08] >> Classic argument between parents to this
[2:10] day. Their whole existence is brutal,
[2:11] but Isa's health issues are a reminder
[2:13] that avoiding zombies would be the tip
[2:14] of the iceberg. Be
[2:15] >> off. Yeah, we're screw.
[2:18] >> And he gave her the bacon. That's a good
[2:20] son. Pretty strong draw, boy. A long bow
[2:22] for hunting deer needs to be bare
[2:23] minimum a 40 lb bow. And this is for
[2:25] hunting humans. That's a strong
[2:26] 12-year-old. They linger on Rosy's stair
[2:28] just long enough to make us wonder.
[2:30] >> If you leave, you can come back, but if
[2:31] you don't come back, no one is permitted
[2:33] to go and find you.
[2:34] >> Brutal, but entirely sensible rule.
[2:36] Personal autonomy while also keeping the
[2:38] safety and longevity of the group in
[2:39] mind. Also, it sets up the entire second
[2:41] half of the film. For a movie filled
[2:42] with disgusting pus corpses, some of the
[2:44] shots of this setting are gorgeous.
[2:47] 7
[2:49] 11 5
[2:53] moving up and down again.
[2:55] >> Young Fathers use a recording of Roger
[2:56] Kipling's poem Boots written in 1903,
[2:58] which by itself is creepy enough, but
[3:00] with their droning distorted guitar and
[3:02] electronic soundscapes, it's a special
[3:04] kind of disconcerting. And the poem
[3:05] plays out for a full 3 minutes and 4
[3:07] seconds, only ending when they come
[3:08] across the first solo. But since it's
[3:10] specifically about the monotony of
[3:11] endless war intercut with clips of
[3:13] children training, even if you're not
[3:14] hearing the words, you're understanding
[3:16] the vibe and it sucks. But for us
[3:18] sitting comfortably at home, the whole
[3:20] thing rocks.
[3:20] >> It's the causeway. It's the only way to
[3:22] the mainland. But we can only get here
[3:24] in low tide. In high tide, the sea
[3:27] covers it.
[3:27] >> Can we swim it in high tide?
[3:28] >> No. The sea has a current. It'll push us
[3:30] past the island and pull us out with
[3:33] sea.
[3:33] >> Clever needed exposition mast as Jamie
[3:35] quizzing spike and random nonsequittor
[3:37] lesson for new parents. We learned a
[3:39] little late. Only quiz your littles,
[3:40] like toddlers, when you know they know
[3:42] the answer. It builds confidence.
[3:44] >> It's so big. If we get walking, we'll
[3:46] get to a place where you can't see the
[3:48] sea.
[3:48] >> Amazing reminder that Spike has never
[3:50] left the island before and likely has no
[3:51] concept of the size of Britain, let
[3:53] alone the world.
[3:55] >> In the world,
[3:56] >> it's a literal bird's eye view since we
[3:58] see the crow is on its back. Close-up on
[4:00] Spike makes this whole thing feel so
[4:01] much more claustrophobic.
[4:05] >> Nah, pretty sure I said nah.
[4:09] Doc,
[4:12] >> fun expectation subversion because these
[4:14] moments are usually about the young noob
[4:16] choking, but Spike pawns that slow, and
[4:18] it's actually the lead Jaime that lets
[4:19] his emotions arguably get in the way.
[4:21] That said, clearly Spike didn't want him
[4:22] to do it. So, Jaime holds off, showing
[4:24] his son that he listens to him.
[4:30] The score is interesting and unnerving,
[4:32] and just the size of the herd really
[4:33] sells the idea that it's BEEN 28 YEARS.
[4:38] THE FOX SAYS, "Screw you. I'm out."
[4:40] Immediately clocked that was the name of
[4:41] the child from the beginning, but uh no,
[4:43] I did not guess literally anything
[4:45] correct about Jimmy moving forward. And
[4:47] considering the Jimmy's usual charity,
[4:48] this guy got off easy.
[4:50] >> There are strange people on the mainland
[4:52] roaming.
[4:53] >> Correct. But he also has no idea.
[4:54] >> The more you kill, the easier it gets.
[4:57] >> Brutal lesson for a 12-year-old. It's
[4:59] hard to show with YouTube censorship
[5:00] requirements, but Danny Bole and his DP
[5:02] Anthony Dodd Mantel used this almost
[5:04] matrix-like bullet time freeze and spin
[5:06] that they did with a multi iPhone rig of
[5:07] all things that has a fun little flare
[5:09] to the gore. They forgot attractive guy
[5:11] who recounts everything great about
[5:12] specific movies, but other than that, it
[5:13] looks like they only had to create the
[5:14] watchtower one.
[5:17] Love this shot from below the ferns and
[5:18] then through the carcass. Also, once
[5:19] you've smelled or if you're really
[5:21] unlucky, tasted venison that's been
[5:22] spoiled by stomach acid, you never
[5:24] forget it. So, rage zombies must smell
[5:26] something special if Jamie likes it. I
[5:27] really like it.
[5:31] >> Appropriate reaction. Jaime's entire
[5:32] demeanor changes here. He's been
[5:34] confident, bordering on arrogant the
[5:35] whole trip, but his immediate 180 here
[5:37] is terrifying because this isn't
[5:38] something normal infected can or even
[5:40] would do. Just to break immersion here
[5:42] for a second, you know that episode of
[5:43] Friends where Rachel won't run with
[5:44] Phoebe cuz she runs all crazy like a
[5:46] kid. I feel like getting to play a
[5:47] zombie in these movies would be like
[5:48] that. Just pure abandon. Flailing your
[5:50] limbs and you lead with your chest and
[5:52] all while naked. Sign me up. Also,
[5:54] having their clothes destroyed after
[5:56] years of being infected in the
[5:57] wilderness makes total sense. Also,
[5:59] having naked zombies sprint at you is
[6:00] somehow even more terrifying than if
[6:02] they were clothed. It's kind of like an
[6:03] evolutionary advantage for them. Who's
[6:05] not taking that extra little pause to
[6:06] check out all the dangly and flappy
[6:08] bits, right? You agree with me? And this
[6:11] is another well-written moment of
[6:12] realism. Spike is an excellent shot.
[6:14] It's obvious that the kids are trained
[6:15] early, and even in low to medium stress
[6:17] situations, Spike is on target. But no
[6:19] one and nothing can prepare you for the
[6:21] adrenaline spike of actual danger like
[6:23] this. Another
[6:28] win for Young Father's score. It adds so
[6:30] much more anxiety to an already anxious
[6:32] scene, but the addition of vocals to the
[6:34] score really pushes it over the edge.
[6:35] It's not diagetic, but it feels like it
[6:37] is. The mask itself is unnerving, but
[6:39] the lens flare makes it deeply
[6:40] unsettling.
[6:41] >> Alphas aren't like the others.
[6:43] >> Terrifying pain around the alpha.
[6:44] >> You did well, honestly.
[6:46] >> Agreed. Especially for a first time out.
[6:48] Good guy, dad.
[6:49] >> Quarantine patrol. Probably French.
[6:51] Well, they pushed the infection back
[6:53] from the Eiffel Tower, so I get why
[6:54] they'd be skittish.
[6:55] >> You stop for nothing.
[6:56] >> Where will you be?
[6:57] >> Right behind you.
[6:58] >> Between this moment with Spike falling
[6:59] back down, and that line, I wondered if
[7:01] we were getting a deep blue sea scream
[7:04] or psycho type deal gives both moments
[7:06] higher stakes. Goodness, this movie just
[7:07] throws the most spectacular shots at us
[7:09] randomly. With no light pollution, the
[7:11] sky could look like that. Very effective
[7:13] moment to have the splashing from the
[7:14] alpha be the first noticeable thing.
[7:20] and his footfalls are so loud and low it
[7:22] makes him sound 10 feet tall. It was at
[7:24] this moment that I remembered this film
[7:25] opened by having a bunch of children
[7:27] become infected and suddenly Spike's
[7:28] safety no longer felt like a given.
[7:34] >> The sound cutting out is so abrupt and
[7:36] jarring. And when it kicks back in, the
[7:37] orchestral score is still pumping as if
[7:39] it was playing just for Jamie and Spike.
[7:41] >> Wait,
[7:42] we're [ __ ]
[7:44] >> This makes total sense. We've seen that
[7:45] the virus only takes seconds to take
[7:46] effect. So Jenny has them wait for just
[7:48] a little longer than that before
[7:49] clearing them. But I've seen this movie
[7:51] and somehow I'm still clenching. Great
[7:52] reveal. The party we assume was
[7:54] happening during their chase is actually
[7:55] the one celebrating Spike's hunt.
[7:56] >> I kept missing.
[7:57] >> No, you didn't. He's humble. Oh, humble
[8:00] Spike.
[8:00] >> While Jaime's over exaggerating of
[8:02] Spike's exploits makes Spike
[8:03] uncomfortable. I think Spike is probably
[8:05] too young to get the point behind it. I
[8:06] don't think Jaime is trying to make his
[8:07] son look good. They all live in a super
[8:09] terrible reality, so they need things
[8:10] like this to celebrate. Nobody there
[8:12] cares if Spike actually shot that many
[8:14] infected. They care about the feeling of
[8:15] victory and the feeling that it's worth
[8:17] fighting for the brutal existence they
[8:18] have. Moments like this make me think
[8:20] Spike might be the last person in the
[8:22] village to know about these two. Dang,
[8:23] rough to see on just so many levels. And
[8:26] it speaks to Spike probably being too
[8:28] young for any of this. The hunt,
[8:29] learning about Kelson, the actual
[8:31] situation his mom and dad are in, as
[8:32] well as her declining health. It's all a
[8:34] real bummer.
[8:35] >> Felt sick. I wanted to be home with me
[8:37] mom.
[8:37] >> Your dad probably felt the same.
[8:39] Infidelity aside, that's an awful but
[8:41] necessary lesson for every kid that your
[8:43] parents are also just scared people. The
[8:45] body on his back makes him look like a
[8:47] scary monster, which works at this
[8:48] point, knowing nothing about the crazy
[8:50] doctor.
[8:50] >> Dr. Kurtson is odd.
[8:52] >> How's he odd?
[8:53] >> Some people think he's the devil.
[8:54] >> What's really wrong with her?
[8:56] >> I don't know.
[8:57] >> Sharing.
[8:57] >> I enjoy the buildup of what's actually
[8:59] wrong with Isla because I think we all
[9:00] assume she was maybe another dormant
[9:02] carrier or it was somehow rage virus
[9:04] related.
[9:04] >> What would her Davey think about?
[9:06] >> I said, "Watch your bloody mouth." It's
[9:08] generally pretty easy for me to not slap
[9:10] my children across the face, but I
[9:11] appreciate that he clearly and
[9:12] immediately regrets it. A traumatized,
[9:14] emotionally disregulated 12-year-old
[9:16] with a knife is a danger to everyone,
[9:17] including himself. The quickness with
[9:19] which he takes the knife shows he
[9:20] understands the seriousness of the
[9:21] situation, and giving it back shows that
[9:23] he still trusts his son. Okay, that I
[9:25] have done, but it's been over a decade.
[9:26] Looks like Spike timed it so the tide
[9:28] was just coming in as they left to stop
[9:29] them from being followed or going back.
[9:31] >> Can't go back, Tyson.
[9:33] >> It's too dangerous. It's It's okay, Mom.
[9:36] No, I know how to keep her safe.
[9:37] >> And this is where Spike's anger toward
[9:39] his father has taken over his common
[9:40] sense. If there is anyone who should
[9:42] know that Spike can't keep them safe,
[9:44] it's Spike.
[9:46] Hugging
[9:51] again. So far, the most picturesque of
[9:52] the 28iverse. Obviously, the first
[9:54] message is about God and done with
[9:55] paint. So, Jimmy had to fix that. Ah,
[9:58] good. Some goo for a new level of
[10:00] disgusting. Like I said, you should have
[10:01] known, Spike. I mean, seriously, you
[10:03] slept through that? And again, was it
[10:05] just a cancer-induced anger outburst?
[10:07] Could still feel rage virus related to
[10:08] us. Badass either way. Fun fact, even
[10:10] though I'm still blurring everything, no
[10:12] one is actually naked because Alfie
[10:13] Williams was 13 years old during
[10:15] filming, so nudity wasn't allowed.
[10:16] They're all wearing bodysuits and
[10:17] prosthetics.
[10:23] This was obviously totally cool for
[10:24] Alfie to see. 28 Weeks Later was not
[10:26] only gorier and more violent than the
[10:28] original, but also had the eye gouging
[10:30] scene, which stuck with us. Yuck.
[10:32] Anyways, this is that scene for this
[10:33] movie. A whole standard of Oh my god,
[10:35] what is happening? The score trill alone
[10:37] is enough to widen your eyes. Axial
[10:39] skeleton flail. Hey, it's that one we
[10:41] thought was Killian. A+ infected reveal.
[10:43] Ha hell nice.
[10:47] Jamie was right. Seems like killing is
[10:49] getting easier for Spike.
[10:54] Man, can we just for once not? But a
[10:57] pretty awesome trap, even if it was
[10:58] unintentional.
[11:01] Brutal. Yeah, Tango is a British soda.
[11:03] They used to have ads where a guy
[11:04] painted orange would smack people
[11:05] drinking it. Kind of like Kelson with
[11:07] his iodine.
[11:07] >> I'm not leaving. Thank you, daddy.
[11:10] >> Jesus Christ. Can this kid get any more
[11:12] up?
[11:12] >> For real. This probably feels like a
[11:13] hallucination for Eric. Entire team torn
[11:15] to shreds in front of him runs into a
[11:17] young boy and his mother. The mother is
[11:18] calling the boy daddy. That'd be a big
[11:20] old nope for me.
[11:20] >> My best friend from school, he's a
[11:22] delivery driver. Oh, you don't know what
[11:24] a delivery driver is. You know, people
[11:25] order stuff online. You don't know what
[11:27] online is.
[11:28] >> The reminder that the rest of the world
[11:29] is just carrying on is still so jarring.
[11:31] And this puts some of Spike's ignorance
[11:32] about just like being a person into
[11:35] perspective. He might not even really
[11:36] know what a doctor is, just that they
[11:38] helped sick people.
[11:38] >> I don't understand what you're saying.
[11:40] >> Still nice to see moments of Spike
[11:41] actually getting to be a kid.
[11:42] >> Something like a radio
[11:44] >> but with photos.
[11:46] Do you have radios?
[11:47] >> You might have noticed the fax machine
[11:49] 56k internet logging on sounds in Isla's
[11:51] head earlier and thought it was just a
[11:52] sound design choice, but nope. She's
[11:54] hearing that.
[11:55] >> She's just being silly. Mom,
[11:56] >> he's being a dick. Saved her lives. I
[11:58] know a dick when I see one. and she
[12:00] hasn't even seen Samson yet. 28 Days
[12:02] Later had this whole look how pretty
[12:04] everything is without the humans vibe to
[12:05] it amidst the disgusting blood spraying
[12:07] ghouls, which is often an apocalypse
[12:09] trope, but Danny really nails it every
[12:11] time he tries.
[12:12] >> Well, let's go. Mom,
[12:16] >> she can walk.
[12:18] >> Labor and delivery. The only thing more
[12:20] powerful than the rage virus for now. My
[12:22] 100% concurrent. I've only ever done
[12:24] Isa's job. When she's with it, she's
[12:26] with it. Got to assume if the baby
[12:27] ingests any of the mother's blood, it's
[12:28] raging out. Or maybe it'll be a
[12:30] daywalker. All the zombie strength and
[12:32] rage, but can't infect anyone and still
[12:34] retains cognition. I'm literally writing
[12:36] the next movie for you.
[12:37] >> We're all insane.
[12:39] >> But yeah, correct. Hard agree. This is
[12:40] insane.
[12:45] >> Never trust a quiet moment in the
[12:46] 28verse.
[12:47] >> We can't let these [ __ ] breathe. We
[12:49] need to kill it.
[12:51] >> She doesn't look infectious.
[12:53] >> Score pounding like a heartbeat is
[12:54] really putting me AT EASE.
[12:59] CRAZY HOW WE KNOW WHAT THAT SOUND WAS
[13:01] without seeing anything.
[13:05] >> Obviously, Samson's height and build
[13:06] would be scary enough. And the way he
[13:08] takes arrows without flinching is
[13:09] terrifying. But if we're being honest,
[13:11] the part that's really sending you
[13:13] running is the absolute power tool.
[13:18] >> Incredible intro for this character.
[13:20] Love this little hint toward the next
[13:21] movie.
[13:21] >> Excuse my appearance. I I paint myself
[13:23] in iodine. It's a an excellent
[13:26] prophylactic. The virus doesn't like
[13:28] iodine at all.
[13:29] >> Not only is this a great way to help
[13:30] explain part of Kelson's survival, it
[13:32] also makes him look totally bananas, and
[13:34] I love it.
[13:34] >> I call this one Samson. He's lived in
[13:36] the area a good 3 years now. I usually
[13:39] keep my distance from him, of course.
[13:41] >> Also, he is bananas, which is great. If
[13:43] you pause here, I think it could
[13:45] definitely be argued that the baby has
[13:46] hetrochromia, making her immune to the
[13:48] virus while also being a carrier, which
[13:50] definitely has some implications for the
[13:51] end of the film. And these jaws spoke
[13:54] and swallowed. This is a monument to
[13:57] them.
[13:58] >> A truly horrifying sight, even if it
[14:00] honestly makes sense in a beautiful way.
[14:02] Personally, I think he just invented his
[14:03] own Minecraft.
[14:04] >> Alas, poor Eric.
[14:10] >> It was worth a try. We find out later
[14:12] that Spike can read and write, but he
[14:14] probably hasn't read Hamlet. Definitely
[14:15] a first world problem, but Kelson almost
[14:17] has a dang, no one will ever get my
[14:19] highbrow humor ever again moment here.
[14:21] How interesting. The magic of the
[14:23] placenta.
[14:24] >> And it does actually make sense. The
[14:25] placenta prevents the mothers and the
[14:26] baby's blood supplies from ever mixing.
[14:28] >> Isa, it would be helpful if I could
[14:30] check your breasts under your arms.
[14:32] Isn't that okay?
[14:33] >> Probably an obvious thing, but I love
[14:34] how polite Kelson is.
[14:35] >> I think you have cancer.
[14:37] >> Such a gut punch for Spike, obviously.
[14:39] But even for us, thinking there was
[14:40] something rage virus related and maybe
[14:42] she'd actually be the cure to it all.
[14:43] But yeah, that's not how these go. And
[14:45] unfortunately, that's real.
[14:46] >> Don't understand. You see, you can't
[14:48] make me mom better. Spike's naivity of
[14:50] how things work once again comes into
[14:51] play. He thought getting his mom to a
[14:53] doctor was all that was needed.
[14:54] >> I can go and I can get it. Just tell us,
[14:56] please.
[14:57] >> There is no medicine that can cure.
[14:59] >> Which is even true with all our modern
[15:00] medicine now. But why would Spike know
[15:02] that?
[15:02] >> Momento Amoris. Remember, you must love.
[15:06] >> As much as Momento Mory is Kelson's like
[15:08] entire vibe, Momento Amoris feels like
[15:11] where he's headed and what's really
[15:12] underneath.
[15:15] What could otherwise be a creepy shot is
[15:17] contextually a very beautiful one.
[15:22] The music hitting this drawn out
[15:23] crescendo and the morphine induced
[15:25] imagery does a good job of dulling the
[15:26] sting of what's a pretty tragic scene.
[15:31] And as a pretine holds his mother's
[15:32] skull to face it toward the sunrise, I'm
[15:34] blown away that it's somehow incredibly
[15:36] poignant. Movies are wild. Young
[15:38] Father's Remember is also doing a lot of
[15:40] heavy lifting.
[15:46] And I'm not being cute. Death is well,
[15:49] you know, I don't really care for it
[15:50] much in my movies, but in our modern
[15:52] society, we don't always have to deal
[15:53] with the dead like this. The idea that a
[15:55] young kid has to hold his mother's skull
[15:57] feels off. And at the same time, he's
[15:59] getting a kind of closure that many of
[16:01] us could never even hope for. It's a
[16:02] full circle moment as the baby carries
[16:04] his mother's remains in his shirt,
[16:05] swaddled like a baby. He wanted peace
[16:07] for her, and sadly, this was the only
[16:09] way she gets that in their world. Spike
[16:10] has visibly become quicker on his feet
[16:12] over the course of the film.
[16:13] >> I think it's time for you and the baby
[16:15] to go home.
[16:16] >> We can interpret that as it's not safe
[16:18] for you out here, but personally, I
[16:19] think Samson was there for the baby.
[16:21] Mhm. Only one of the eyes is visible.
[16:26] >> Dang. Bringing Godspeed You Black
[16:28] Emperors, the sad mafioso from East
[16:30] Hastings back from Jim's first stroll
[16:32] through London for this moment.
[16:34] And goodness, they're still throwing
[16:35] gorgeous shots at us.
[16:42] Yeah, it looks about right.
[16:49] >> And a perfect moment for the track to
[16:50] kick it into high gear.
[16:51] >> Oh, wonderful shot.
[16:54] >> I think anyone from Britain along with
[16:55] some of us who happen to know the
[16:56] unfortunate history immediately had a
[16:58] moment of uh is that guy dressed like
[17:01] Jimmy Seville? Which in and of itself
[17:02] might make me just side with the
[17:04] infected even though he's pretty decent
[17:05] at this point. Hold, hold, [ __ ] go.
[17:09] >> That might be the best call to action
[17:11] I've ever witnessed. Perfect line
[17:12] delivery.
[17:16] >> This scene is absolute insanity. Let's
[17:18] start with the music. A metal version of
[17:20] the Teletubbies theme song on its own is
[17:22] hilarious. Here, it's so disturbing.
[17:24] Then the Jimmy Seville inspired outfits
[17:26] are mega weird and seems to give them
[17:27] superpowers. Then the joy they dispatch
[17:29] the infected with feels so sketchy even
[17:31] though they clearly know what they're
[17:32] doing way beyond the Swedish military
[17:34] team. These two helping each other out,
[17:35] Grot and infected, smiling, looking like
[17:37] they're working to get a good stretch.
[17:39] The whole thing just feels so off. I
[17:41] guess what I mean to say is we saw a
[17:42] zombie rip a dude's head and spine out a
[17:44] bit ago, and that didn't come close to
[17:45] the ick this scene made me feel.
[17:50] >> Who's that?
[17:52] >> Now that's an entrance.
[17:54] >> Hello, my name's Jimmy.
[17:56] >> And their outfits threw me off for a
[17:57] second and I forgot about the opening.
[17:59] But there it is, the final confirmation
[18:01] that it's that Jimmy. I didn't love 28
[18:03] Years Later the first time I watched it.
[18:04] I think mostly because it wasn't quite
[18:06] what I was expecting. I liked it, but if
[18:08] I hadn't made this video, I probably
[18:09] wouldn't have thought about it or
[18:10] watched it again. But as often happens,
[18:12] watching it again made me enjoy it way
[18:14] more. Sometimes the opposite happens.
[18:15] I'll feel meh about a movie and then
[18:17] spending more time with it exposes more
[18:18] of its flaws. But my biggest new
[18:20] takeaway is that it's beautiful and
[18:21] weird, and Ray Fines could really do no
[18:23] wrong, at least when acting. Remember
[18:25] when you could say something like that
[18:26] about male actors and there wasn't a 50%
[18:28] chance it would age like deli meat? But
[18:30] I can't stress enough how hiring a band
[18:31] to do a score is just it's the best
[18:34] possible thing. It's strange and
[18:35] unnerving, epic, and moving when it
[18:37] needs to be. I'm thoroughly impressed
[18:38] with Young Fathers. Another large part
[18:40] of my feeling is that it's truly only
[18:42] half a movie. This and The Bone Temple
[18:44] were shot back to back. And boy, do I
[18:45] have some thoughts on that one. And if
[18:47] you have any thoughts on The Bone Temple
[18:49] or 28 Years Later, you need to check out
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[19:29] already trust. I've started working on
[19:30] my profile, which I'm hoping can be a
[19:32] way to give recommendations, a thing I'm
[19:33] asked about pretty often, without having
[19:35] to drop a bunch of titles off the top of
[19:36] my head, a thing I'm bad at. So, I'm
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