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Movie Review

Humans are scarier than zombies in 28 Years Later: The Bone Temple

Alex Bentley
Jan 15, 2026 | 1:51 pm
Ralph Fiennes in 28 Years Later: The Bone Temple

Ralph Fiennes in 28 Years Later: The Bone Temple.

Photo by Miya Mizuno

It’s not often that a return to a franchise after years of no activity results in an actual good movie, but 2025’s 28 Years Later proved successful by reuniting director Danny Boyle and writer Alex Garland, who made the original 28 Days Later. Another sequel, The Bone Temple, was filmed back-to-back with last year’s film, with Nia DaCosta taking over for Boyle in the directing chair.

The movie picks up soon after the end of the first film, with the young Spike (Alfie Williams) now an unwilling member of a group called the Jimmies, which are led by a man who calls himself Sir Jimmy Crystal (Jack O’Connell). Unlike the main group in the first film that was just looking to survive the zombie apocalypse, the Jimmies are a bloodthirsty bunch who gleefully attack any zombies they find and brutalize other survivors they come across.

The story also returns to Dr. Kelson (Ralph Fiennes), whose solitary time at his self-built bone temple is interrupted by a massive zombie he has dubbed Samson (Chi Lewis-Parry). Against the odds - and with the help of some morphine - Kelson is able to bond with Samson, giving Kelson some strange but welcome companionship. But with the Jimmies lurking nearby, any peace he’s found may soon be shattered.

DaCosta, working from a script by Garland, ably steps into Boyle’s shoes, putting the emphasis on the story rather than trying for lots of stylistic flourishes. That’s not to say that she doesn’t do great work, however. The creepiness and sadistic nature of the Jimmies comes through loud and clear under her direction, and she brings out the campy comedy that comes from the unexpected pairing of Kelson and Samson.

Like the first 28 Years Later, the story is somewhat of a slow burn. The film doesn’t have many plot developments over its 109 minutes, and so DaCosta must get by on mood rather than action for the most part. But when things do get ramped up, they can get very uncomfortable as the film does not shy away from extreme gore. The damage inflicted by Samson and other zombies is one thing, but when it’s sentient humans going savage, it becomes even more difficult to look at the screen.

The juxtaposition between the chaos of the Jimmies and the quiet existence of Dr. Kelson works well for the film. Their separation for the bulk of the story gives them plenty of time to have the characters come into their own. Sir Jimmy Crystal is the ringleader, but Jimmy Ink (Erin Kellyman) gets her own showcase. Samson was already a (literally) big presence from the first film, but this film gives him a degree of humanity that gives the story more depth.

O’Connell made a big impression as the lead vampire in Sinners, and he’s just as interesting/intimidating here. Fiennes plays a character where being over-the-top is the natural reaction, and yet he keeps Kelson grounded in a number of ways that make him much more than one-note. Lewis-Parry was likely cast for his physique, but he brings out more from a zombie than you’d ever expect. Williams fades into the background a bit after his starring role in the first film, but he’s still strong.

Releasing The Bone Temple in January was not a great sign given the month’s reputation as a dumping ground for bad movies, but it actually proves to be a great choice. With most other releases being Oscar hopefuls or truly awful films, it stands out for being another compelling entry for the franchise, one that will make anticipation high for whenever the third film in the 28 Years Later series comes out.

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28 Years Later: The Bone Temple opens in theaters on January 16.

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Movie Review

New movie Being Heumann spotlights rousing fight for disability rights

Alex Bentley
Nov 13, 2026 | 2:30 pm
Ruth Madeley in Being Heumann
Photo courtesy of Apple TV
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The presence of building ramps, curb ramps, wheelchair-accessible stalls, accessible parking spaces, and more accommodations for people with disabilities is now so ubiquitous in the United States that it’s hard to remember a time without them. But as the new film Being Heumann ably demonstrates, the fight to get those things was as difficult as any civil rights battle.

The film focuses on a specific period of time in 1977 when disability rights activist Judy Heumann (Ruth Madeley) led a movement to try to get U.S. Secretary of Health, Education and Welfare (HEW) Joseph Califano (Mark Ruffalo) to sign Section 504 of the Rehabilitation Act of 1973. After years of no progress under Presidents Nixon, Ford, and Carter, Heumann and her group of other disabled people and allies decide to stage a sit-in at the HEW offices in San Francisco.

What begins as a temporary event turns into a prolonged ordeal, with Califano initially unmoved and the protesters unwilling to leave the building. The strong-willed Heumann, helped by fellow leaders like Kitty Cone (Madeline Delp) and TV reporter Evan White (Dylan O’Brien), not only puts pressure on Califano and other HEW staffers, but also members of her own group, some of whom are unable or unwilling to stay as long as she wants.

Directed by Sian Heder (CODA) and written by Heder and Rebekah Taussig, the film features a rousing story made all the more effective by the presence of actual disabled people. In addition to people in wheelchairs like Madeley and Delp, the cast features people who are blind, deaf, are short-statured, and more. Some of the cast members are professional actors, some aren’t, but they all bring a realism that enhances the story.

Heder and her team underscore the importance of the story by taking their time telling it. That doesn’t just mean giving Madeley and others extra scenes to demonstrate their skills, although the 127-minute film provides plenty of time for that. More pointedly, Heder allows the disabled people to take however long they need to do something, like trying to navigate inaccessible stairways or using a pointer to spell out words. The respect this approach shows the actors brings extra heft to the story they’re trying to tell.

There are multiple moments in the film where audience members may scoff at what’s happening to the disabled people, most notably when they are met with derision by government officials and even regular passers-by. Heder occasionally overplays her hand by either showing Califano as being overly callous or White being supremely helpful, but she mostly plays things straight, allowing the difficulties the protestors face speak for themselves.

Madeley, a veteran actor with over 30 credits to her name, puts in an award-worthy performance. While the reality of her disabled body plays a part in her role, it’s mostly the fieriness and determination that she shows that make it stellar. Others like Delp, Antwan Tolliver, Rio Finnegan, and more prove crucial in supporting roles. Known actors like Ruffalo, O’Brien, and Rob Delaney are fine, but secondary to the main group.

Being Heumann is a great way to honor the legacy of Heumann, who passed away in 2023. There is still work to be done to ensure disabled people are given access and respect in the U.S., but the events in the film show that people like Heumann and the groups they lead have power when they choose to fight.

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Being Heumann is now playing in select theaters and streaming on Apple TV.

accessibility apple tv being heumann civil rights disability rights evan white film review historical drama joseph califano judy heumann kitty cone madeline delp mark ruffalo ruth madeley san francisco sian heder movie review
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