28 Years Later: The Bone Temple (2026)

It's strange to find that every new instalment in what is now a fine horror franchise comes loaded with worry and curiosity about where things are going next. I was relieved when I ended up enjoying 28 Years Later as much as I did, but that wild ending had me wondering about how the next instalment would be handled. And then finding out that it was being directed by Nia DaCosta made me uneasy. I like DaCosta, I always want her to do well since she did such great work with Candyman, but "The Bone Temple" seemed to be moving further into dark territory that was also quintessentially British.  

Whether or not DaCosta knew about every disturbing detail in her own movie, and I would hope that writer Alex Garland gave her a primer on one or two key elements, she proves to be a fantastic choice to helm this middle section of what looks set to be quite a brilliant and intriguing horror trilogy. It's already two for two at this point. Now I have worry and curiosity about how the final part will play out.

For those wanting a very brief plot summary, as long as you've seen the previous film, we rejoin this dangerous world as young Spike (Alfie Williams) is being initiated into the gang of Jimmys that saved him at the end of the last film. The leader is Sir Jimmy Crystal (Jack O'Connell), and they are on a mission to serve Old Nick. Meanwhile, Dr. Kelson (Ralph Fiennes) is still tending to his ossuarium, and he's also hoping to find a way to communicate with, and perhaps even cure, the infected alpha known as Samson (Chi Lewis-Parry). Kelson and Crystal have very different ways of dealing with the world around them, but fate may bring them together in a way that might force them to find some common ground.

If you enjoyed both Williams and Fiennes in the previous movie then you're going to find their performances equally enjoyable here, although Fiennes gets to do a bit more than the younger cast member. It's arguably O'Connell who steals the show though, embodying absolute evil with a smile and a winning way with words . . . and a real affinity for the antics of the Teletubbies, but Lewis-Parry continues to cast a hell of a large shadow in the role of Samson, particularly when in numerous scenes that have him interacting with Fiennes. Nobody disappoints, but the others worth highlighting are Emma Laird and Erin Kellyman, both standing out as the two female members of the Jimmy gang (named Jimmima and Jimmy Ink, respectively).

28 Years Later: The Bone Temple is two films perfectly intertwined. One is a study of evil, and also a look at how people working together can overcome the greatest obstacles. The other is a full-blooded selection of horror movie moments, with arteries cut, flesh torn, and innocent people dragged into sadistic games. And then it stops to deliver a show-stopping sequence that makes incredible use of a very well-known Iron Maiden song.

I cannot think of anyone being disappointed by this if they made it all the way through the previous film. DaCosta may struggle to put her stamp all over this, but there are choices and flourishes that are more in line with her aesthetic than the standard look of the series. It's commendable that she also maintains a consistency that allows the whole thing to feel like a natural extension of the unfolding storyline though.

I may have an obvious bias here. I enjoy every single entry in this film series. The fact that these new films have gone from being unnecessary titles that nobody seemed to want to important and fresh ways to examine the human spirit and expand the lore of the infected is incredible. And there are now three features that could easily be in contention whenever the time comes to pick an outright best film in the series. I will remain worried and curious until the third/final film is released, but that's just habit at this point. All of the evidence so far assures me that I should be optimistic and excited.

9/10

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Prime Time: The Green Knight (2021)

A green knight confidently strides into the court of a king. He puts forth a challenge. Someone needs to face him in combat. But whatever injuries they cause will be returned to them in exactly one year. Step forward Gawain (Dev Patel). The fight is over when Gawain beheads the green knight. No need to wait a year for a return injury if your opponent is dead, obviously. Except there is no death here. Reattaching his head, the green knight reminds his opponent of the terms of their duel, and leaves. The clock is ticking.

Written and directed by David Lowery, taking inspiration from a 14th-century poem entitled “Sir Gawain And The Green Knight”, The Green Knight is a fantastical drama that benefits from sterling central performances and gorgeous cinematography throughout (from Andrew Droz Palermo, who collaborated with Lowry on A Ghost Story). It is loaded and layered with intriguing imagery, in line with both the tone of the film and the main themes, but manages to be both dense and accessible.

Also, and I feel this is important to note here, The Green Knight is cinematic and entertaining for the entire runtime. I say that because I wasn’t sure if it would be, which is why I didn’t get to it sooner. I expected/hoped to enjoy this, but I assumed it would be a film that I would need to then spend more time digging into and contextualising. While there is a bit of “further reading” you can seek out, Lowery puts everything in the film that you need, with every well-considered detail available to piece together into a number of fascinating character studies.

Patel is brilliant in the lead role, happy to show his character in a poor light as he wrestles with situations that allow him to either realise his full potential or find an easier, less courageous, way out. Alicia Vikander plays two roles here, both equally important in different ways, and she is just as good as Patel. And disguised as The Green Knight himself is Ralph Ineson, putting his memorable timbre to great use. There are also enjoyable supporting turns from Sean Harris, Barry Keoghan, Joel Edgerton, and Sarita Choudhury, all playing a crucial part in Gawain’s journey. There’s also a gorgeous bit of VFX work that allows Patel to share the screen with a helpful fox for a number of scenes.

Alternating between moments that are intimate and moments that are epic, this is a film that has clearly been made with a great deal of love and care, and it shows. It could have ended up in any number of final incarnations, but I am glad we got this version. Cinematic, thoughtful, and one that will reward rewatches as much as it rewards patience. Having taken inspiration from a poem, it translates the material into cinematic poetry, to hopefully be appreciated and enthusiastically examined by film fans for many years to come.

9/10

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