Everything GREAT About 28 Years Later!

[00:00] Today's video is sponsored by Flicks,

[00:01] the fun new app for tracking all your

[00:03] movies and shows and where we can share

[00:04] awesome lists and collections with each

[00:06] other. More on that at the end.

[00:12] VHS tapes have a limited lifespan, and

[00:14] the more you play them, the more they

[00:15] degrade. It's not even a statement about

[00:17] this being late into the apocalypse. I

[00:18] had plenty of well-loved VHS tapes, and

[00:20] my apocalypse was much later on. The

[00:23] point is, was Tinky Winky actually gay?

[00:25] Was Jerry Fwell's little gay panic

[00:26] theory correct? I guess we'll never

[00:28] know. Most of the kids look a little

[00:29] worried, but seeing the older girl

[00:31] crying is rough. She's definitely old

[00:32] enough to understand what she hears the

[00:34] adults talking about. And since we're

[00:35] back at the beginning of the outbreak,

[00:36] some of the footage is a little low res

[00:38] and grainier. Children have certainly

[00:39] died in the two previous films, but to

[00:41] have the first real attack by the

[00:42] infected be a room of children is a

[00:44] choice and sets the tone. This should

[00:46] have prepared me for the Bone Temple,

[00:47] but alas, it did not. It makes more

[00:49] sense at the end, but the first big

[00:50] cross we see is upside down.

[00:51] >> This is a glorious day of judgment.

[00:54] >> I get it. Especially if you devoted your

[00:56] entire life, profession, even where you

[00:57] live to a religion. And then it all

[00:59] spirals this fast before you even have

[01:00] time to consider.

[01:01] >> Keep this with you. Always have faith.

[01:04] >> He does, just not in who you intended.

[01:07] >> Why have you forsaken me?

[01:09] >> Apparently, he's a system of a down fan.

[01:10] And we freeze for about four frames on

[01:12] the upside down cross the way he'll

[01:13] prefer it as an adult.

[01:18] >> Young Fathers were not a group I knew of

[01:20] prior to this film, but I'm a fan now.

[01:22] So many interesting choices for the

[01:23] score that make it feel connected to the

[01:24] first two films, but also very much its

[01:26] own thing. And the triumphant sound of

[01:28] Promised Land during a deeply ominous

[01:29] scene really makes this a memorable

[01:30] opening. I'd live there even without the

[01:32] apocalypse.

[01:37] >> I mean, I'm turning into a real fan,

[01:39] young fathers. Even in dystopia, got to

[01:41] do them chores. But you love to see a

[01:43] little community all working for each

[01:44] other. They live in a society, am I

[01:46] right? artwork that would get you sent

[01:48] to the counselor's office at Spike's age

[01:50] is now a prerequisite for existence. I

[01:52] get it, man. It's a sad day when you

[01:54] feel you're too old to bring it. But

[01:55] even the hesitation is a reminder of how

[01:57] young he actually is for what's coming.

[01:59] That quick moment where you think they

[02:00] might be keeping an infected mom chain

[02:01] to the bed upstairs.

[02:02] >> You're going off the island to the

[02:04] mainland.

[02:05] >> Yeah,

[02:05] >> there's a baby.

[02:07] >> He's 12.

[02:08] >> Classic argument between parents to this

[02:10] day. Their whole existence is brutal,

[02:11] but Isa's health issues are a reminder

[02:13] that avoiding zombies would be the tip

[02:14] of the iceberg. Be

[02:15] >> off. Yeah, we're screw.

[02:18] >> And he gave her the bacon. That's a good

[02:20] son. Pretty strong draw, boy. A long bow

[02:22] for hunting deer needs to be bare

[02:23] minimum a 40 lb bow. And this is for

[02:25] hunting humans. That's a strong

[02:26] 12-year-old. They linger on Rosy's stair

[02:28] just long enough to make us wonder.

[02:30] >> If you leave, you can come back, but if

[02:31] you don't come back, no one is permitted

[02:33] to go and find you.

[02:34] >> Brutal, but entirely sensible rule.

[02:36] Personal autonomy while also keeping the

[02:38] safety and longevity of the group in

[02:39] mind. Also, it sets up the entire second

[02:41] half of the film. For a movie filled

[02:42] with disgusting pus corpses, some of the

[02:44] shots of this setting are gorgeous.

[02:47] 7

[02:49] 11 5

[02:53] moving up and down again.

[02:55] >> Young Fathers use a recording of Roger

[02:56] Kipling's poem Boots written in 1903,

[02:58] which by itself is creepy enough, but

[03:00] with their droning distorted guitar and

[03:02] electronic soundscapes, it's a special

[03:04] kind of disconcerting. And the poem

[03:05] plays out for a full 3 minutes and 4

[03:07] seconds, only ending when they come

[03:08] across the first solo. But since it's

[03:10] specifically about the monotony of

[03:11] endless war intercut with clips of

[03:13] children training, even if you're not

[03:14] hearing the words, you're understanding

[03:16] the vibe and it sucks. But for us

[03:18] sitting comfortably at home, the whole

[03:20] thing rocks.

[03:20] >> It's the causeway. It's the only way to

[03:22] the mainland. But we can only get here

[03:24] in low tide. In high tide, the sea

[03:27] covers it.

[03:27] >> Can we swim it in high tide?

[03:28] >> No. The sea has a current. It'll push us

[03:30] past the island and pull us out with

[03:33] sea.

[03:33] >> Clever needed exposition mast as Jamie

[03:35] quizzing spike and random nonsequittor

[03:37] lesson for new parents. We learned a

[03:39] little late. Only quiz your littles,

[03:40] like toddlers, when you know they know

[03:42] the answer. It builds confidence.

[03:44] >> It's so big. If we get walking, we'll

[03:46] get to a place where you can't see the

[03:48] sea.

[03:48] >> Amazing reminder that Spike has never

[03:50] left the island before and likely has no

[03:51] concept of the size of Britain, let

[03:53] alone the world.

[03:55] >> In the world,

[03:56] >> it's a literal bird's eye view since we

[03:58] see the crow is on its back. Close-up on

[04:00] Spike makes this whole thing feel so

[04:01] much more claustrophobic.

[04:05] >> Nah, pretty sure I said nah.

[04:09] Doc,

[04:12] >> fun expectation subversion because these

[04:14] moments are usually about the young noob

[04:16] choking, but Spike pawns that slow, and

[04:18] it's actually the lead Jaime that lets

[04:19] his emotions arguably get in the way.

[04:21] That said, clearly Spike didn't want him

[04:22] to do it. So, Jaime holds off, showing

[04:24] his son that he listens to him.

[04:30] The score is interesting and unnerving,

[04:32] and just the size of the herd really

[04:33] sells the idea that it's BEEN 28 YEARS.

[04:38] THE FOX SAYS, "Screw you. I'm out."

[04:40] Immediately clocked that was the name of

[04:41] the child from the beginning, but uh no,

[04:43] I did not guess literally anything

[04:45] correct about Jimmy moving forward. And

[04:47] considering the Jimmy's usual charity,

[04:48] this guy got off easy.

[04:50] >> There are strange people on the mainland

[04:52] roaming.

[04:53] >> Correct. But he also has no idea.

[04:54] >> The more you kill, the easier it gets.

[04:57] >> Brutal lesson for a 12-year-old. It's

[04:59] hard to show with YouTube censorship

[05:00] requirements, but Danny Bole and his DP

[05:02] Anthony Dodd Mantel used this almost

[05:04] matrix-like bullet time freeze and spin

[05:06] that they did with a multi iPhone rig of

[05:07] all things that has a fun little flare

[05:09] to the gore. They forgot attractive guy

[05:11] who recounts everything great about

[05:12] specific movies, but other than that, it

[05:13] looks like they only had to create the

[05:14] watchtower one.

[05:17] Love this shot from below the ferns and

[05:18] then through the carcass. Also, once

[05:19] you've smelled or if you're really

[05:21] unlucky, tasted venison that's been

[05:22] spoiled by stomach acid, you never

[05:24] forget it. So, rage zombies must smell

[05:26] something special if Jamie likes it. I

[05:27] really like it.

[05:31] >> Appropriate reaction. Jaime's entire

[05:32] demeanor changes here. He's been

[05:34] confident, bordering on arrogant the

[05:35] whole trip, but his immediate 180 here

[05:37] is terrifying because this isn't

[05:38] something normal infected can or even

[05:40] would do. Just to break immersion here

[05:42] for a second, you know that episode of

[05:43] Friends where Rachel won't run with

[05:44] Phoebe cuz she runs all crazy like a

[05:46] kid. I feel like getting to play a

[05:47] zombie in these movies would be like

[05:48] that. Just pure abandon. Flailing your

[05:50] limbs and you lead with your chest and

[05:52] all while naked. Sign me up. Also,

[05:54] having their clothes destroyed after

[05:56] years of being infected in the

[05:57] wilderness makes total sense. Also,

[05:59] having naked zombies sprint at you is

[06:00] somehow even more terrifying than if

[06:02] they were clothed. It's kind of like an

[06:03] evolutionary advantage for them. Who's

[06:05] not taking that extra little pause to

[06:06] check out all the dangly and flappy

[06:08] bits, right? You agree with me? And this

[06:11] is another well-written moment of

[06:12] realism. Spike is an excellent shot.

[06:14] It's obvious that the kids are trained

[06:15] early, and even in low to medium stress

[06:17] situations, Spike is on target. But no

[06:19] one and nothing can prepare you for the

[06:21] adrenaline spike of actual danger like

[06:23] this. Another

[06:28] win for Young Father's score. It adds so

[06:30] much more anxiety to an already anxious

[06:32] scene, but the addition of vocals to the

[06:34] score really pushes it over the edge.

[06:35] It's not diagetic, but it feels like it

[06:37] is. The mask itself is unnerving, but

[06:39] the lens flare makes it deeply

[06:40] unsettling.

[06:41] >> Alphas aren't like the others.

[06:43] >> Terrifying pain around the alpha.

[06:44] >> You did well, honestly.

[06:46] >> Agreed. Especially for a first time out.

[06:48] Good guy, dad.

[06:49] >> Quarantine patrol. Probably French.

[06:51] Well, they pushed the infection back

[06:53] from the Eiffel Tower, so I get why

[06:54] they'd be skittish.

[06:55] >> You stop for nothing.

[06:56] >> Where will you be?

[06:57] >> Right behind you.

[06:58] >> Between this moment with Spike falling

[06:59] back down, and that line, I wondered if

[07:01] we were getting a deep blue sea scream

[07:04] or psycho type deal gives both moments

[07:06] higher stakes. Goodness, this movie just

[07:07] throws the most spectacular shots at us

[07:09] randomly. With no light pollution, the

[07:11] sky could look like that. Very effective

[07:13] moment to have the splashing from the

[07:14] alpha be the first noticeable thing.

[07:20] and his footfalls are so loud and low it

[07:22] makes him sound 10 feet tall. It was at

[07:24] this moment that I remembered this film

[07:25] opened by having a bunch of children

[07:27] become infected and suddenly Spike's

[07:28] safety no longer felt like a given.

[07:34] >> The sound cutting out is so abrupt and

[07:36] jarring. And when it kicks back in, the

[07:37] orchestral score is still pumping as if

[07:39] it was playing just for Jamie and Spike.

[07:41] >> Wait,

[07:42] we're [ __ ]

[07:44] >> This makes total sense. We've seen that

[07:45] the virus only takes seconds to take

[07:46] effect. So Jenny has them wait for just

[07:48] a little longer than that before

[07:49] clearing them. But I've seen this movie

[07:51] and somehow I'm still clenching. Great

[07:52] reveal. The party we assume was

[07:54] happening during their chase is actually

[07:55] the one celebrating Spike's hunt.

[07:56] >> I kept missing.

[07:57] >> No, you didn't. He's humble. Oh, humble

[08:00] Spike.

[08:00] >> While Jaime's over exaggerating of

[08:02] Spike's exploits makes Spike

[08:03] uncomfortable. I think Spike is probably

[08:05] too young to get the point behind it. I

[08:06] don't think Jaime is trying to make his

[08:07] son look good. They all live in a super

[08:09] terrible reality, so they need things

[08:10] like this to celebrate. Nobody there

[08:12] cares if Spike actually shot that many

[08:14] infected. They care about the feeling of

[08:15] victory and the feeling that it's worth

[08:17] fighting for the brutal existence they

[08:18] have. Moments like this make me think

[08:20] Spike might be the last person in the

[08:22] village to know about these two. Dang,

[08:23] rough to see on just so many levels. And

[08:26] it speaks to Spike probably being too

[08:28] young for any of this. The hunt,

[08:29] learning about Kelson, the actual

[08:31] situation his mom and dad are in, as

[08:32] well as her declining health. It's all a

[08:34] real bummer.

[08:35] >> Felt sick. I wanted to be home with me

[08:37] mom.

[08:37] >> Your dad probably felt the same.

[08:39] Infidelity aside, that's an awful but

[08:41] necessary lesson for every kid that your

[08:43] parents are also just scared people. The

[08:45] body on his back makes him look like a

[08:47] scary monster, which works at this

[08:48] point, knowing nothing about the crazy

[08:50] doctor.

[08:50] >> Dr. Kurtson is odd.

[08:52] >> How's he odd?

[08:53] >> Some people think he's the devil.

[08:54] >> What's really wrong with her?

[08:56] >> I don't know.

[08:57] >> Sharing.

[08:57] >> I enjoy the buildup of what's actually

[08:59] wrong with Isla because I think we all

[09:00] assume she was maybe another dormant

[09:02] carrier or it was somehow rage virus

[09:04] related.

[09:04] >> What would her Davey think about?

[09:06] >> I said, "Watch your bloody mouth." It's

[09:08] generally pretty easy for me to not slap

[09:10] my children across the face, but I

[09:11] appreciate that he clearly and

[09:12] immediately regrets it. A traumatized,

[09:14] emotionally disregulated 12-year-old

[09:16] with a knife is a danger to everyone,

[09:17] including himself. The quickness with

[09:19] which he takes the knife shows he

[09:20] understands the seriousness of the

[09:21] situation, and giving it back shows that

[09:23] he still trusts his son. Okay, that I

[09:25] have done, but it's been over a decade.

[09:26] Looks like Spike timed it so the tide

[09:28] was just coming in as they left to stop

[09:29] them from being followed or going back.

[09:31] >> Can't go back, Tyson.

[09:33] >> It's too dangerous. It's It's okay, Mom.

[09:36] No, I know how to keep her safe.

[09:37] >> And this is where Spike's anger toward

[09:39] his father has taken over his common

[09:40] sense. If there is anyone who should

[09:42] know that Spike can't keep them safe,

[09:44] it's Spike.

[09:46] Hugging

[09:51] again. So far, the most picturesque of

[09:52] the 28iverse. Obviously, the first

[09:54] message is about God and done with

[09:55] paint. So, Jimmy had to fix that. Ah,

[09:58] 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

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