‘28 Years Later‘ is enjoyable for what it is, but one of the biggest takeaways is that it was clearly a set-up for the follow-up film, ’28 Years Later: The Bone Temple’. While viewers could surely watch the latter without seeing either of the previous films, they will enjoy it much more if they know the lore and backstories of these characters.
The story picks up almost immediately after the events of ’28 Years Later’ as Sir Lord Jimmy Crystal (Jack O’Connell) is seen putting young Spike (Alfie Williams) to the test. This is a brilliant introduction to the villain of the film, as it becomes clear just how deranged and selfish he is during this fight. His fingers, which is what he calls his child followers, know no better to believe in this man who thinks he is the son of Satan. This sets up for some truly dark, twisted, and gory events that are much on par with the previous two films.
On the other side of things, we have Ralph Fiennes’ Dr. Ian Kelson, whom we got to know a lot about in the previous film. This time he strikes up an unlikely “friendship” with the Alpha Infected Samson (Chi Lewis-Parry). Both of these plot points are captivating in their own way, as we move towards the climax of the film (which does not disappoint). The cinematography and Nia DaCosta’s directing choices are the best in the franchise, without a doubt. Being up close and personal with so many characters allows us to feel what they are feeling, whether it be terror, happiness, or peace.
Jack O’Connell will always and forever make a great villain. His role in ‘Sinners‘ is unforgettable, but he does something so phenomenal in ’28 Years Later: The Bone Temple’ that he will surely be remembered for it as well. This is a career-best performance for him. He is a mentally unstable man who is drawn to violence. Throughout the entire movie, he is captivating, yes, but it is the third act where he really shines.
The same can be said for Ralph Fiennes, who has a lot of incredible roles under his belt, but you have never seen him like this before. What he does, especially in that third act, is going to be talked about for years to come. Chi Lewis-Parry is also given a lot more to play with this time around, and he proves why he should be on many studios’ radars.
’28 Years Later: The Bone Temple’ sets the bar high for 2026 films. Thanks to brilliant performances all around, a story that will have viewers on the edge of their seats, and some well placed jump scares, it is an unforgettable movie that ends the beloved franchise perfectly.
While the studio could certainly discover more story to be told, there is no need, as the ending just feels right.
’28 Years Later: The Bone Temple’ receives a score of 90 out of 100.
What is the plot of ’28 Years Later: The Bone Temple’?
Taking place after the events of the previous film, Spike (Alfie Williams) is inducted into Sir Jimmy Crystal’s (Jack O’Connell) gang of acrobatic killers in a post-apocalyptic Britain ravaged by the Rage Virus. Meanwhile, Dr Ian Kelson (Ralph Fiennes) forms a new relationship with potentially world changing consequences.
Who is in the cast of ’28 Years Later: The Bone Temple’?
(L to R) Chi Lewis-Parry and Ralph Fiennes star in ’28 Years Later: The Bone Temple’.
Moviefone recently had the pleasure of speaking with Ralph Fiennes and Chi Lewis-Parry about their work on ’28 Years Later: The Bone Temple’, reprising their characters from ’28 Years Later,’ working together to create their characters unusual friendship on screen, and director Nia DaCosta’s unique vision for this world.
You can read the full interview below or click on the video player above to watch our interviews with Fiennes, Lewis-Parry, and Erin Kellyman.
Moviefone: To begin with, Ralph, can you talk about having the opportunity to play this character over the course of two films and what were some of the aspects of this character you were excited to explore this time around that you didn’t get a chance to explore in the last movie?
Ralph Fiennes: Well, yes, it’s great. Look, it’s great to play a part over two films. I don’t think I’ve done it before. No, of course I have with Voldemort (in the ‘Harry Potter’ series) and M (in the James Bond movies), I suppose. But this narrative is more in favor of Kelson’s story and Samson’s story together. Alex (Garland) has written a great part. We understand he’s a doctor, he takes palliative care of Jodie Comer‘s character in the last film. We understand he has that doctor’s instinct for care but he’s in a situation where he’s reliant on survival techniques. But I think this heightens his medical curiosity, which is also a human curiosity, isn’t it? If I want to cure someone, it’s because I believe in the value of mending a fellow human being. I think that’s totally innate to Kelson. His desire to mend, heal, and where he must accept death, it’s a recognition of the life that has been lived by the person who has died. I think he’s profoundly connected to the human experience and what it is to have lived and died. He’s got a mixture of the medic and the philosopher, and I think that’s explored in this. We see his goodness, and in the end, he puts himself on the line to protect young Spike (Alfie Williams). I think he’s a good guy.
MF: Chi, what was your approach to playing Samson and what are the challenges of portraying a character who is infected?
Chi Lewis-Parry: The cold, that was a big challenge. Dealing with the cold while being mostly naked, I found that the cold can really zap your energy. Samson is a very high energy character, and if he’s not high energy, he’s sitting or lying down, and again, exposed to the cold. It’s a mental state. Once the mind gives up, I feel like the body follows and then you’re in an uncontrollable shiver and that’s not good on camera. There was a mental stamina that I had to have to still appear like this big physically imposing destroyer in Samson. It was tough but manageable.
Nia DaCosta (director, ’28 Years Later: The Bone Temple’) at CinemaCon 2025 for Sony Pictures at The Colosseum at Caesars Palace on March 31, 2025 in Las Vegas, Nevada. Photo by Stewart Cook/Sony Pictures via Getty Images.
MF: Ralph, what was it like working with director Nia DaCosta and can you talk about her unique vision for this world?
RF: Well, she was intent to come with a different filming approach. I think she made that clear to Danny (Boyle) and Alex, she didn’t want to ever attempt to imitate Danny’s directorial style. She came with a forensic delicacy. She loves the closeups and what’s going on inside the face of someone. The closeup is a great magnifier of human thought in a life and I think she’s edited the film to allow the closeups to breathe and I like that.
MF: Chi, can you talk about Samson’s unusual friendship with Dr. Kelson and what it was like working on the relationship with Ralph?
CLP: It was a complete dream come true. The relationship on screen is very much the relationship we have in real life because I have an affection for the man. I don’t hide it. If anything, I celebrate it. I think to have discovered a friend in this medium, I suppose, is odd and rare, especially one with such affection because I adore him, and he knows that. I’m so proud of being a part of this wonderful experience, and this wonderful film. I can’t wait for the universe to see it.
MF: Finally, Ralph, what was your experience like working with Chi on this project?
RF: Working with Chi was wonderful. He’s generous. He’s committed. He’s always present, ready to go, and ready to give of himself in the moment. That’s what you want with a good screen partner is that we dance together literally but we also dance together in our energies. He doesn’t speak much but all these scenes, he was transmitting feelings and thoughts and interior impulses which I could see in his face. That’s stuff just emerged between us. He comes onto the set with this wonderful generosity of spirit, and that’s rare.
What is the plot of ’28 Years Later: The Bone Temple’?
Taking place after the events of the previous film, Spike (Alfie Williams) is inducted into Sir Jimmy Crystal’s (Jack O’Connell) gang of acrobatic killers in a post-apocalyptic Britain ravaged by the Rage Virus. Meanwhile, Dr Ian Kelson (Ralph Fiennes) forms a new relationship with potentially world changing consequences.
Who is in the cast of ’28 Years Later: The Bone Temple’?
(L to R) Jamie (Aaron Taylor-Johnson) and his son Spike (Alfie Williams) in Columbia Pictures’ ’28 Years Later’. Photo: Sony Pictures.
‘28 Years Later,’ as the title suggests, picks up nearly three decades since London –– and the rest of the UK–– was overtaken by a virus that turned its victims into rage-filled monsters who savage their victims in 2002’s ’28 Days Later’.
While the “Z” word is never used, the Infected, for all their fast speed, are certainly a take on the zombie genre.
‘28 Weeks Later’, which was directed by Juan Carlos Fresnadillo, picked up the story months later as the country is slowly cleared of the infected, with evacuated civilians returning –– even as the danger persists.
Boyle’s recent movie explores what life is like for the people who are making a go of living in the country –– and the fact that while the Infected are still a threat, the original movie’s theme of man’s inhumanity to man, even in the case of a unifying situation, also emerges.
The story of young Spike (Alfie Williams), the main survivor we met in that film will continue in the ‘Bone Temple’ alongside that of Ralph Fiennes’ Dr. Kelson, who has his own dealings with the infected. And it’ll also have more of a focus on the weird Sir Jimmy Crystal (Jack O’Connell), the weird warrior who pops up at the end.
Who is involved in the third ‘28 Years Later’ movie?
Cillian Murphy in 2002’s ’28 Days Later.’ Photo: Fox Searchlight Pictures.
Alongside the returning cast, Garland –– who has written and produced the movies so far –– is back on script duty, and there is the distinct possibility that Boyle might also direct this one.
Plus, Oscar winner Cillian Murphy –– who played Jim in the original ‘28 Days Later’ (and –– spoiler alert –– shows up in ‘The Bone Temple’) is likely to have a meatier role in the new film.
When will the third ‘28 Years Later’ movie be in theaters?
The third movie has yet to be formally announced by Sony, but since ‘The Bone Temple’ was shot shortly after ‘28 Years Later,’ that will be in cinemas sooner rather than later: January 16, to be exact.
Nia DaCosta (director, ’28 Years Later: The Bone Temple’) at CinemaCon 2025 for Sony Pictures at The Colosseum at Caesars Palace on March 31, 2025 in Las Vegas, Nevada. Photo by Stewart Cook/Sony Pictures via Getty Images.
’28 Years Later’ has an ending that is dividing audiences.
The ending is a perfect transition into the next film, ’28 Years Later: The Bone Temple’.
The final scene could have been an end-credit scene.
SPOILER ALERT: Some spoilers for ‘28 Years Later’ below.
The ending of ‘28 Years Later‘ is getting people to talk about the movie, that’s for sure. Some love it, some hate it, some are indifferent to it, but either way you look at it, that final scene is splitting audiences. People online have gone so far as to say that the end completely ruined the movie for them.
While it does shift the movie tonally, it feels as if there is a reason for that. Nia DaCosta‘s follow-up, ‘28 Years Later: The Bone Temple‘, releases January 16, 2026, and this is likely a transition into that. It also ties together the opening scene as well as hints that were sprinkled throughout the film in an interesting way.
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’28 Years Later’ takes place, you guessed it, 28 years after the infection prominently featured in ‘28 Days Later‘ and ‘28 Weeks Later‘ started. It is not necessary to have seen the other movies, as this one follows a new group of people and does a decent job of catching viewers up on where they need to be to understand it.
Spike (Alfie Williams) has turned twelve and his father Jamie (Aaron Taylor-Johnson) believes it is time for him to go zombie hunting on the mainland and get his first kill. His mother, Isla (Jodie Comer), is very sick, although they do not know with what. After discovering there is a doctor on the mainland, he leaves the safety of his community with her to try to help her.
What follows is a terrifying adventure as they navigate a plethora of zombies and threats – including a pregnant zombie who births a non-infected child, something that will surely come back around later.
After Spike drops a newborn baby off at his community, he decides that he needs some time to clear his head and wander the countryside. You see, this movie has always been about him. About his relationship with his parents and his journey into adulthood. The trailers showcased Spike and Jamie, but that was in an effort to keep a lot of surprises, twists, and turns hidden so audiences can experience them on the big screen.
As he is cooking fish and relaxing, a zombie horde attacks. He holds his own for a while, but thankfully Jimmy (Jack O’Connell) shows up with some friends to take down the rest of the horde in a wild, ridiculous, over-the-top, yet extremely fun action sequences. The internet is calling this group Power Rangers and the Tracksuit Mafia, because they all wear brightly colored outits. Jimmy wears a crown on his head and definitely a weird guy, but this is not the first time we have seen him.
The opening scene showed a young Jimmy at the start of the infection. His father was a priest and welcomed the zombies, claiming that it was a prophecy being fulfilled. Jimmy hid in the church as he watched his father be devoured, so it makes sense that his brain might have snapped a little at that moment.
While we did not see him at all throughout the rest of the movie, we did see his name a few times. It was carved into the hanging zombie that Spike and his father come across early on, as well as written on one of the walls that they passed. There are likely even more references to him that eagle-eyed viewers can spot.
It might seem like this final scene comes completely out of left field, but it instantly felt like a transition into the next movie. Looking around the internet, so many have forgotten about Nia DaCosta’s ’28 Years Later: The Bone Temple’ and the fact that it not only was shot together with this movie, but that it is releasing in January.
When a director takes over the franchise for another director, often they collaborate on the pivotal scene that leads from one to another. For example, The Russo Brothers directed the end-credit scene in ‘Thunderbolts*‘ because it is going to lead into ‘Avengers: Doomsday‘. Surely she had some involvement, and potentially even directed this divisive scene.
Jack O’Connell shined in ‘Sinners‘ as Remmick, a cenuries-old vampire who has some quirks of his own. He is a little weird and a little twisted, so it should come as no surprise that he is channeling a little bit of that into his ’28 Years Later’ character, Jimmy. Plus, it makes sense storywise for him to be a little off.
The Ending Would Have Been Easier To Digest As An End-Credit Scene
Nia DaCosta (director, ’28 Years Later: The Bone Temple’), (L) and Danny Boyle (director, ’28 Years Later’) at CinemaCon 2025 for Sony Pictures at The Colosseum at Caesars Palace on March 31, 2025 in Las Vegas, Nevada. Photo by Eric Charbonneau/Sony Pictures via Getty Images.
All of this to say that the final sequence should have been an end-credit scene. This would have helped audiences separate the two with it not being such a stark difference from the majority of the movie, and certainly the third act. The tonal shift seems to be what it holding a lot of people back from allowing themselves to not only enjoy it, but to get excited about what is coming next.
It would have been easy enough to start rolling the credits when Spike was cooking the fish, but then during a mid-credit or end-credit scene show the zombie horde attacking with the lead-in to him meeting Jimmy and his crew. This would have helped viewers to see this as the start of the next movie, rather than an ending that comes out of nowhere for this one.
Cillian Murphy in 2002’s ’28 Days Later.’ Photo: Fox Searchlight Pictures.
Preview:
Cillian Murphy is not in new zombie outing ‘28 Years Later.’
One of the infected who looks a little like him shows up in the trailer.
Murphy is a producer behind the scenes.
We know him these days as the ‘Oppenheimer’ Oscar winner and star of the popular ‘Peaky Blinders’ crime series out of the UK (which itself has a big screen version on the way), but back in 2002, Cillian Murphy had a few film and TV credits to his name but broke out in a big way thanks to Danny Boyle’s horror thriller ‘28 Days Later,’ which drew praise for its inventive take on the zombie genre (more on that below), its guerilla filming style and intensity.
The movie spawned a sequel, 2007’s ‘28 Weeks Later,’ but Murphy didn’t return for that one, nor did Boyle or writer Alex Garland, aside from being executive producers.
Fast-forward a good few years to now and Boyle is back, alongside Garland (who has since gone on to enjoy a healthy directing career himself) for a new planned trilogy kicking off later this year with ‘28 Years Later.’ And following the launch of the first teaser trailer a few weeks ago speculation has been rife that Murphy shows up as a skeletally thin member of the infected.
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When in fact… it’s not him.
Producer Andrew Macdonald confirmed to Empire that the shambling creature is, in fact, not played by Murphy:
“On this, we wanted him to be involved and he wanted to be involved. He is not in the first film, but I’m hoping there will be some Jim somewhere along the line. He’s involved at the moment as an executive producer, and I would hope we can work with him in some way in the future in the trilogy.”
As for Boyle, he told the film magazine that his partner warned him of the similarity…
“I showed my girlfriend the trailer and she said, ‘People will think that’s Cillian.’ I said, ‘Don’t be silly.’ I ignored her. So I’ve eaten a bit of humble pie since.”
What’s the story of ‘28 Days Later’?
Aaron Taylor-Johnson in ’28 Years Later’. Photo: Sony Pictures Releasing.
‘28 Days Later’ sees Murphy starring as Jim, a bike courier who has been in an accident and awakens from a coma to discover that London –– and the rest of the UK–– has been overtaken by a virus that turns its victims into rage-filled monsters who savage their victims.
While the “Z” word is never used, the Infected, for all their fast speed, are certainly a take on the genre.
‘28 Weeks Later’, which was directed by Juan Carlos Fresnadillo, picked up the story months later as the country is slowly cleared of the infected, with evacuated civilians returning –– even as the danger persists.
As the title suggests, ‘28 Years Later’ will then spin the clock forward nearly three decades to see what life is like for the people who are making a go of living in the country –– and the fact that while the Infected are still a threat, the original movie’s theme of man’s inhumanity to man, even in the case of a unifying situation, also emerges.
Cillian Murphy in 2002’s ’28 Days Later.’ Photo: Fox Searchlight Pictures.
After the internet lit up with chatter about the Infected in the trailer looking strikingly like Murphy, British art director Angus Neill told the UK’s Guardian newspaper that he’s behind the prosthetic:
“Danny told me he’d always had me in mind for the role. So we met up, hit it off, and I agreed to take part. On set he has an extraordinary ability to hypnotize you and working with him on the film was a very, very intense experience.”
You can see Neill’s professional Instagram listing here:
While Sony Pictures has yet to officially comment, Neill certainly looks the part.
Where can I see Cillian Murphy, then?
Cillian Murphy in ‘Peaky Blinders’. Photo: Netflix.
It’s not like Murphy is hurting for work –– he was in demand even before Christopher Nolan directed him to an Academy Award.
Murphy was most recently seen in indie title ‘Small Things Like These,’ which itself is drawing some awards attention.
He will be back on our screens in the aforementioned ‘Peaky Blinders’ movie for Netflix, reprising the role of crime boss Tommy Shelby. The film has yet to confirm a launch date.
Then there’s comedy drama ‘Steve,’ in which he plays the titular headteacher who is battling for his reform college’s survival while managing his mental health.
Finally, he’s attached to star in based-on-truth crime/mining drama ‘Blood Runs Coal.’
When will ‘28 Years Later’ be in theaters?
‘28 Years Later’ is currently scheduled to infect theaters on June 20th.
DaCosta’s ‘28 Years Later: The Bone Temple,’ meanwhile, will follow on January 16th, 2026.
(L to R) Rose Byrne and Jeremy Renner in ’28 Weeks Later’. Photo: 20th Century Fox.
Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes are starring in ‘28 Years Later’
Danny Boyle and Alex Garland are behind the new movie.
Sony is distributing the movie, the start of a trilogy of films.
After many years in the wild weeds of speculation and rumor, director Danny Boyle and writer Alex Garland finally confirmed that they’re getting back to the world they created with 2002’s ‘28 Days Later’ for a brand new follow-up called ‘28 Years Later’.
And far from just making one movie, their plan is actually to launch a trilogy, with Garland writing all three and Boyle directing the first. The initial round of casting has begun with Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes joining the movie per Deadline.
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What’s the story of the ‘28 Days Later’ movies?
Cillian Murphy in 2002’s ’28 Days Later.’ Photo: Fox Searchlight Pictures.
2002’s original movie saw Cillian Murphy playing Jim, a bicycle courier left in a coma after an accident. He awakes nearly a month later to discover London and the wider world have gone to hell after animal rights activists released a chimp infected with a virulent, genetically engineered plague that has spread to the population, leaving the city near deserted and haunted by roving packs of the rage-driven ‘infected’.
That was followed by ‘28 Weeks Later’ in 2007, which saw Juan Carlos Fresnadillo taking over directorial duties, with Boyle and Garland stepping back to be executive producers. The sequel is set as American forces arrive to help clean up Britain, civilians caught in the crossfire between soldiers and the remaining infected.
While the plot of the new movie is being kept under wraps for now, the title points to picking up the story decades after the original and seeing what has happened to the country since then. We’re guessing nothing good, but with Boyle and Garland involved, it’ll be entertaining finding out.
Who are the new actors playing?
(L to R) Bryan Tyree Henry and Aaron Taylor-Johnson star in Sony’s ‘Bullet Train.’ Photo: Scott Garfield.
As with the story info, we don’t yet know who the three new actors will be doing in the movie –– but they’re interesting nonetheless, since the 2002 entry was largely cast with rising stars and a few veterans sprinkled into the mix.
While Comer and Taylor-Johnson aren’t exactly veterans, they’re well established –– and that goes without saying for Fiennes.
What’s happening with the ‘28 Years Later’ trilogy?
‘The Marvels’ director Nia DeCosta.
With Boyle taking on the first movie, the plan is for him to direct it this year and for production of the second to kick off once the first has wrapped to ensure continuity of storytelling while each director will bring their visual stamp to their movie.
Nia DaCosta may direct the second ‘28 Years Later’ movie.
Director Danny Boyle and writer Andrew Garland are overseeing the extended horror franchise.
The movie continues the story started in ‘2002’s 28 Days Later’.
Back in January, we learned that Danny Boyle and Alex Garland had finally started putting concrete plans in place to craft another follow up to zombie movie ‘28 Days Later’, after years of speculation.
Things have moved on since that initial news –– Sony Pictures has agreed to finance and distribute what is now planned as a trilogy of films, and Nia DaCosta, who has made the likes of ‘Little Woods’, 2019’s ‘Candyman’ and last year’s ‘The Marvels’, is in talks to direct the second movie in the three-film series.
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What’s the story of the ‘28 Days Later’ films so far?
Cillian Murphy in 2002’s ’28 Days Later.’ Photo: Fox Searchlight Pictures.
Released in 2002, ’28 Days Later’ starred Cillian Murphy as a bicycle courier Jim, who wakes up from a coma to discover that London –– and the world –– has been overtaken by a virus that turns its victims into rage-filled monsters who savage their victims.
While the “Z” word is never used, the Infected, for all their fast speed are certainly a take on the zombie genre.
‘28 Days Later’ was followed directly by 2007’s ‘28 Weeks Later’, which was directed by Juan Carlos Fresnadillo, with Boyle and Garland only involved as executive producers.
The plot for ‘28 Years Later’ being kept under wraps for now, the title points to picking up the story decades after the original and seeing what has happened to the UK since then.
(Right) Director Alex Garland on the set of ‘Civil War.’ Photo: A24.
As of right now, the plan appears to be for Garland –– who, since the original, has gone on to quite the filmmaking career himself –– to write and produce all three movies.
Boyle, who is also a producer, is aboard to direct the first movie in the new trilogy.
According to Deadline’s new report, if DaCosta does indeed sign on, the strategy is for her to closely liaise with both Boyle and Garland so as to keep the storytelling consistent between all the movies, while also being given the freedom to put her own stamp on the look of the movie.
Murphy, who has yet to confirm whether he’ll appear in front of the camera, is certainly attached to be an executive producer on this one.
When will the first movie of the new ‘28 Years Later’ trilogy be in theaters?
With shooting taking aim at later this year, we don’t see this one releasing much before late 2025 at the earliest.
Long-delayed and awaited with trepidation by MCU fans, ‘The Marvels’ is far from the strongest entry in the franchise’s 33-film library. But it’s not unwatchably bad as rumored, either. There is some crisp action and moments that are inarguably funny and sweet, while other sequences will make one cringe and wonder who thought they were a good idea. Yet it does benefit from some solid performances, especially Iman Vellani in her big screen debut as Ms. Marvel – except that many more casual viewers may not even know who she is.
As ‘The Marvels’ opens, we are barraged with a bunch of material designed to catch us up, including a more or less complete recap of 2019’s ‘Captain Marvel.’ In addition to it being more than four years since that movie came out, ‘The Marvels’ tries to introduce us to two characters we’ve never seen on the big screen before: Kamala Khan/Ms. Marvel (Iman Vellani) and the grown-up version of Captain Monica Rambeau (Teyonah Parris). Both made their debuts via Marvel shows on Disney+ — ‘Ms. Marvel’ and ‘WandaVision’ respectively (Monica was a little girl in ‘Captain Marvel’) – and it’s a heavy lift to bank so much of this movie on audiences knowing who they are.
That’s because the emotional core of ‘The Marvels’ is supposed to be the relationship between these three superheroes, and while our three leads do share some excellent chemistry, it’s hard to feel emotionally invested in the way they come together, since we barely know two of them unless we’ve been tuning into their shows. The plot doesn’t offer them much room to develop either, especially Brie Larson’s Captain Marvel.
Instability in the space-time continuum – caused by the film’s villain, the Kree revolutionary Dar-Benn (Zawe Ashton), punching portals in said continuum – leads Captain Marvel (Brie Larson), Ms. Marvel, and Monica to all begin switching places with each other every time they use their light-based powers, thanks to “quantum entanglement” (where’s Hank Pym when you need him?). Tracing the problem back to Dar-Benn with the help of Nick Fury (Samuel L. Jackson) and his space-based S.A.B.E.R. squad, the three women learn that Dar-Benn is channeling her power through an ancient armband – the companion to a similar artifact around Kamala’s forearm.
Fueled by a hatred for Captain Marvel that’s rooted in the latter’s past, Dar-Benn hatches a plan that will allow her to take her revenge while also restoring vitality to her depleted Kree home world of Hala – unless the Marvels can stop her.
There have been numerous reports of trouble behind the scenes on ‘The Marvels,’ and watching the film does give one the sensation of watching a product that was patched together as best as possible and finally just let out into the world. It’s not bad exactly: it moves relatively quickly – almost too fast at points – and some of its best moments have a sense of fun that’s been lacking in some more ponderous MCU efforts. The title trio also have their moments, with Iman Vellani – who made such a sparkling screen debut on ‘Ms. Marvel’ – a standout and finding her footing after some early unsteadiness.
But the plot seems murky and half-formulated at times, with people and places coming and going and narrative threads either dropped abruptly or just fading away, victims of the surgery that may have whipped this into presentable form. There are also sequences that just don’t work, most notably a sojourn to a planet where all communication is done via song, an ill-conceived stab at a mini-musical that is just embarrassing.
With the exception of some in-your-face action scenes (including a climactic battle between the Marvels and the villain that does not, for once, involve massive objects falling out of the sky onto buildings), Nia DaCosta’s direction of ‘The Marvels’ feels anonymous, lacking the mood of her previous films ‘Little Woods’ and ‘Candyman.’ Again, it’s mostly the camaraderie of the three leads that makes individual scenes work and keeps ‘The Marvels’ entertaining despite its deep flaws.
As we’ve already been saying, Iman Vellani mostly makes good on the promise of her debut in ‘Ms. Marvel.’ Her initial scenes here are a little shaky, as she overemotes and screams, but she settles in and finds her groove, and is a delight from that point out. She is the audience point-of-view character: a Captain Marvel superfan (in other words, an MCU fan) who can’t believe the things she’s seeing and participating in alongside her idol. It’s a warm, sweet, and charming performance.
Teyonah Parris’ no-nonsense Monica Rambeau is the other standout, also giving an empathetic performance while conveying a strong sense of the powerful woman behind the light blasts. As for Brie Larson, we’ve always felt that she was possibly miscast as Carol Danvers; we still feel that way. While she has moments that are quite effective, there are times when we’re not sure what she’s doing: a blank, wide-eyed expression frequently comes over her face. In the end, while she interacts well with her partners, Larson just doesn’t have – and perhaps never had – the gravitas that this powerful being requires.
As for the rest of the cast, British actor Zawe Ashton has a wicked grin and blazing eyes as Dar-Benn (in the comics, a male villain so obscure that he was killed after appearing in two books), but she doesn’t get to do a whole lot except fight and hold out her hammer (which is bigger than Mjolnir). Samuel L. Jackson collects his check as a somewhat cutesier Nick Fury, while Zenobia Shroff is as excellent here as she was in ‘Ms. Marvel’ as Kamala’s mom Muneeba.
The editing on “The Marvels” must have been a challenge for its two editors, Evan Schiff and Catrin Hedström. On one hand, some of the action sequences – especially the hand-to-hand combat between the Marvels, Dar-Benn, and her Kree minions, as the three heroes constantly swap places – are kinetic and surprisingly intimate, getting right up close into the action. But other parts of the film feel cut to the very bone, if not beyond, with the plot feeling less like a coherent narrative and more like just a choppy string of events. Plot points and characters get hustled on and offscreen like Oscar winners on a particularly overlong show.
Cara Brower’s production design is equally bifurcated, with some of the space-based imagery looking like it jumped off a sci-fi magazine cover, while a lot of the story takes place on Carol’s cramped ship and anonymous hallways in both Dar-Benn’s vessel and Nick Fury’s orbital headquarters. Aside from the cosmic stuff and some colorful costumes in the otherwise ill-advised Aladna sequence, there isn’t much that jumps out as compared to other Marvel movies. The visual effects, such a thorn in Marvel’s side these past few years, are…okay. Some of the imagery crackles and looks sharp, while other scenes (particularly an attack on a Skrull refugee camp) look cheaper and flimsier by comparison.
Finally, Laura Karpman’s music has grandeur but lacks identity. Like other aspects of this movie, it harkens back to a different generation of franchise films and doesn’t have much in the way of a singular theme or motif to make it leap out to the forefront. Like much in “The Marvels,” it seems generic.
What Does ‘The Marvels’ Mean For The MCU’s Future?
Without getting into spoilers, there are seeds planted by ‘The Marvels’ – especially in the tag before the credits roll and a rather mind-blowing mid-credits scene – that are sure to get fans fired up and speculating wildly about what’s next. As well they should: both scenes herald interesting new developments in the MCU. Beyond that, however, it’s difficult to say what comes next for Captain Marvel herself and her place in the Marvel firmament.
Brie Larson has made her disillusionment with the vicious toxicity surrounding the role very apparent (and good for Marvel for ignoring all that nonsense and giving this movie four female leads), and with “The Marvels” being for most of its length a fairly self-contained story, it’s hard to see what a third “Captain Marvel” would look like. On the other hand, would Larson be willing to play a supporting, mentor-like role to a very different team of Avengers? Like many members of the MCU’s current roster, Carol Danvers’ future doesn’t have a clear path in front of it.
Final Thoughts
‘The Marvels’ is by no means the catastrophe that online rumors and industry buzz have made it out to be. It’s got some terrific attributes, including the presence of Iman Vellani, the chemistry between the three leads, its unrepentant “girl power” message, compact pacing and a sense of fun. But a lot of it feels patched together, some of the humor falls flat, and it demands a lot of viewers who may not be up on all the Marvel shows on Disney+. Whether it represents the MCU managing to maintain a certain amount of quality control during a tough time or a new lower standard for the studio is not yet clear.
‘The Marvels’ receives 6 out of 10 stars.
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What is the plot of ‘The Marvels’?
Carol Danvers (Brie Larson), known in the universe as Captain Marvel, suddenly finds herself switching places physically with her superpowered niece Monica Rambeau (Teyonah Parris) and an equally powerful teen named Kamala Khan (Iman Vellani). They trace the anomaly back to a villainous Kree leader (Zawe Ashton) who harbors a deep hatred for Carol and nefarious plans for worlds throughout the cosmos.
Who is in the cast of ‘The Marvels’?
Brie Larson (‘Fast X’) as Carol Danvers/Captain Marvel
Iman Vellani (‘Ms. Marvel’) as Kamala Khan/Ms. Marvel
The movie stars Brie Larson, Iman Vellani, and Teyonah Parris reprising their MCU roles as Carol Danvers, Kamala Khan, and Monica Rambeau, respectively, and was directed by Nia DaCosta (‘Candyman’).
(Left) ‘The Marvels’ director Nia DeCosta. (RIght) ‘The Marvels’ executive producer Mary Livonas.
Moviefone recently had the pleasure of sitting down in-person with director Nia DaCosta and executive producer Mary Livonas (‘WandaVision’) to talk about their work on ‘The Marvels.’
They discussed the new movie, the challenges of crafting a ‘Captain Marvel’ sequel that also includes elements from ‘Ms. Marvel’ and ‘WandaVision,’ introducing Kamala Khan and Monica Rambeau to the big screen, working with Brie Larson, navigating the “Marvel System,” the most difficult scene to shoot, and what fans can expect from breakout character Goose.
You can read the full interview below or click on the video player above to watch our interviews with DeCosta, Livonas, and composer Laura Karpman.
Moviefone: To begin with, Nia, can you talk about the challenges as a filmmaker of coming into direct a sequel that is also drawing on storylines from the TV series ‘Ms. Marvel’ and ‘WandaVision,’ as well as the 32 previous MCU movies? Was it difficult to find the right tone?
Nia DaCosta: Weirdly, the tone was one of the easiest things. It came naturally. I really wanted this to have a very specific tone because it’s a very different kind of film, we have these three heroes together, and it was important to me that it was funny. I wanted a lot of the humor to not necessarily come from jokes, but to come from just the warmth and the reality of the characters. So, the Khan family are just so funny, because their youngest member is a superhero and they’re like, “We’re from Jersey City. What are you talking about?” Then Carol being jaded, and Monica having her experience and her way of dealing with the craziness of everything that’s going on. So, tone was important to me and the thing that came most naturally.
MF: Mary, as a producer, was it difficult working with Marvel to keep track of all the continuity?
Mary Livonas: Well, what’s been so great is that this is a team-up that’s been in the works for a very long time. I was fortunate to work on the first ‘Captain Marvel’ movie, and it was a definite decision to make Monica Rambeau the age that she was in that installment because it took place in the past. Because we knew that we wanted Carol and Monica to one day share the big screen together. Then of course when ‘Ms. Marvel’ came up as a possibility for a Disney+ show and that show was developed and came out, it was an awesome experience to work in lockstep with that team to understand what foundation they were laying. But what’s wonderful is that the notion of a team-up is so ingrained in the DNA of Marvel Comics that to put it on screen felt natural for us. Again, I was lucky enough to work on ‘WandaVision,’ so continuing that story thread was also wish fulfillment and a blast to do. Really this is a team up movie unlike anything that we’ve seen before in Marvel. We’ve had the adventures, but this is a team-up movie that stands on its own two feet.
MF: For both of you, what was it like to have the opportunity to introduce Kamala Khan and Monica Rambeau to the big screen?
ND: It was so fun. It was so great. Especially because I love ‘Ms. Marvel.’ Ms. Marvel is one of my favorite characters in the comics, and I really loved meeting Monica Rambeau in ‘WandaVision.’ So, being able to bring them onto the big screen and do more with them and throw them into a much bigger scenario than they’d been in in the TV shows was really cool.
ML: What’s great is just the ability to celebrate the incredible performances and the characters that Teyonah and Iman have helped develop and introduce them to a larger audience. What’s wonderful about this film and this installment is the notion that together we’re more than the sum of our parts and we certainly find that in the case of ‘The Marvels.’
MF: Mary, what was it like for you to collaborate with director Nia DaCosta on this project?
ML: It’s been awesome helping bring Nia’s vision to life and creating this story together. She’s not just wickedly cool, but she’s a total nerd. When we first met, we just gushed about all the characters that we love for hours. So, to make the movie alongside someone who’s as passionate, with a fellow fan was a joy. I can say the same about our crew members, but Nia is just such a talent and a force. Of course, she helped write on this as well and we’re lucky to have her talent.
MF: Nia, I understand that you’re a big of fan Marvel Comics. How did your knowledge of these characters and the Marvel universe uniquely qualify you to direct this movie?
ND: I think it was less the knowledge, and more my passion for it. I was really excited by it, and I think because I was a fan, it helped me to put trust into the Marvel system, even when I was like, “Oh my God, I would never do this usually.” It helped in that way. Also, just from day to day, being able to have people on wires, flying around and introduce characters that I really love from the comics, that was so fun. So that’s helpful, just in terms of keeping the passion alive.
MF: Can you expand on your experience working with the “Marvel System?” What was that like for you as a filmmaker?
ND: Yeah, it’s interesting because this is one movie in a huge line of films that have come before and will come after, and television shows, and they’re making so much more now, so it was interesting having to navigate and communicate between projects. For the most part, we got to do what we wanted to do, but you always are in a constant conversation with everyone, with Kevin Feige, with the ‘Ms. Marvel” show. Asking about the things coming after, trying to figure out information like, “Have you figured out what you’re doing with that yet? Because that will influence whether or not I have this in this scene.” So, it’s so different, but it was also a fun challenge.
MF: What’s it like having actress Brie Larson as number one on your call sheet? What kind of tone does she set on the set?
ND: Well, she’d done ‘Captain Marvel’, she’d done ‘Avengers: Endgame,’ which is obviously one of the biggest movies of all time, not even just because of how successful it was, but just the making of it. So, she was an old hand. She really came in with so much information and a desire to help everyone else and have a good experience. When we initially talked, we both agreed this should be a joyful experience and fun, and she wanted everyone to have a good time. It’s really demanding on actors physically and emotionally doing this kind of movie. You’re on wires, you’re working a lot, so she was a great leader in that sense.
ML: Brie’s an incredibly giddy, fun-loving person who brings such earnestness and compassion to the role as well as on set. She really helped lead the charge and make sure that the environment was a chill, fun one.
MF: Nia, was there one scene or sequence in particular that was especially difficult or challenging to shoot?
ND: Not extremely, but that first big set piece that we have with the switching and the fighting. So that was a big challenge of figuring out the switching, and who’s where when, where are they going, where are they coming from, and what side do we show. Once we got through that big challenge, it really helped us to have an easier time with the rest of the film. So that, I think, would be probably the most challenging. But also, the most informative.
MF: Finally, Goose was the breakout star of ‘Captain Marvel,’ what can fans expect from the character in ‘The Marvels?’
ND: Goose just has the best time in this film, and I think she is the fourth Marvel. She’s the star of the film. So, I think there’s a lot of exciting stuff with Goose in this movie.
ML: Goose continues to be as chaotic as Goose has ever been and as audiences have seen quick glimpses of, there are more Flerkens afoot. Rizzo is the US-based Goose, but we had Nemo and Tango with us in the UK. They are very exclusive celebrities who have very regimented training schedules. They’re awesome to work with. Incredibly talented, beautiful souls.
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What is the plot of ‘The Marvels’?
While investigating a wormhole linked to the Kree, Monica Rambeau’s (Teyonah Parris) powers become entangled with those of Kamala Khan (Iman Vellani) and Carol Danvers (Brie Larson). The trio team up to determine why they are swapping places with each other every time they use their powers.
Who is in the cast of ‘The Marvels’?
Brie Larson (‘Fast X‘) as Carol Danvers / Captain Marvel
As we head into spooky season, here’s a guide to a wide variety of new horror films from female filmmakers to get your skin crawling. With such a rich crop of startlingly original titles from filmmakers with bold visions and unique points of view, there’s bound to be something for everyone’s particular penchant. Whether you’re looking for mind-blowing body horror, creatures like vampires, witches or ghosts, or just good old fashioned blood, guts and gore – something wicked awaits you.
Adriana Barraza in ‘Bingo Hell’
The fifth installment in the anthology Welcome To The Blumhouse, Gigi Saul Guerrero’s film stars Oscar-nominated actress Adriana Barraza as Lupita, the lynchpin of a group of elderly persons living in the slowly gentrifying enclave known as Oak Springs. When the owner of the community center mysteriously disappears and the bingo hall is taken over by a huckster named Mr. Big (a wonderfully slimy Richard Brake) promising suspiciously big payouts, Lupita rallies the group to fight back. Filmed in New Orleans, Guerrero’s gruesome, wry film is perfect for fans of ‘The Outer Limits.’
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Asjha Cooper, Frabrizio Guido and Mason Beauchamp in ‘Black As Night’
Written by Sherman Payne, Maritte Lee Go’s addition to Welcome To The Blumhouse follows awkward teenager Shawna (Asjha Cooper) as she tackles body issues and battles vampires over one fateful summer. When her mother falls victim to a gang of vampires preying on the most vulnerable residents of New Orleans – drug addicts and the unhoused struggling after Hurricane Katrina – Shawna vows to not only avenge her death, but put an end to their bloody reign in the Big Easy forever.
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Zena Grey, Erika Cimino, Carlson Young, Brianne Tju and Alice Carroll Johnson in ‘The Blazing World’
Loosely inspired by Margaret Cavendish’s 1666 satirical, proto-science fiction of the same name, Carlson Young’s fantasy horror-thriller had its world premiere at the 2021 Sundance Film Festival. Young stars as Margaret Winter, a self-destructive young woman still reeling from her twin sister’s accidental drowning, who returns home only to find herself in an alternate dreamlike dimension where her sister may still be alive. Udo Kier, Dermot Mulroney, Vinessa Shaw round out the film’s impressive cast.
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Lauren Beatty in ‘Bloodthirsty’
Co-written by mother-daughter team Wendy Hill-Tout and Lowell Boland, follows indie musician Grey Kessler (Lauren Beatty) as she battles her anxiety while working on her sophomore album. When mysterious producer Vaughn (Greg Bryk) offers his mansion and services, Grey is elated. However as his abusive process pushes her into the darker recesses of her psyche, she finds herself transforming in more ways than one. Shot on location in Edmonton, Alberta, Canada, the result is a unique, transfixing, and gore-filled twist on the werewolf genre.
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Yahya Abdul-Mateen II in ‘Candyman’
Co-written with Win Rosenfeld and producer Jordan Peele, Nia DaCosta’s entry into the Candyman franchise, first adapted from by Clive Barker’s “The Forbidden” in 1992 by Bernard Rose, picks the story back up twenty-seven years after the events of the first film. Chicago-based visual artist Anthony McCoy (Yahya Abdul-Mateen II) finds himself drawn to the urban myth of Candyman and the Cabrini-Green housing project. Little does he know his connection to the lore runs deeper than just the power of artistic inspiration. Although critical reception was split, after its initial release DaCosta became the first American Black woman director with a number one at the box office.
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Niamh Algar in ‘Censor’
Set at the height of the Video Nasty controversy in the early 1980s England, Enid Baines (Niamh Algar) works as a censor for the British Board of Film Classification. Years early Enid’s sister went missing and is presumed dead, but when Enid discovers an old exploitation film that parallels the events of her sister’s disappearance, she becomes obsessed with finding the woman she believes may be her long lost sister. Shot on a mixture of 35mm, Super8 and VHS, Bailey-Bond’s film is a visceral and disquieting debut.
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Fear Street Trilogy – directed by Leigh Janiak
Ted Sutherland and Sadie Sink in ‘Fear Street’
Set in 1994, 1978, and 1666 respectively, the trilogy relates the twisted relationship between the communities of Shadyside and Sunnyvale as it unpacks the curse of Sarah Fier, a witch who was burned at the stake. Inspired by the iconic book series by R. L. Stine, director Leigh Janiak infuses a fresh new point of view by centering the films on a queer love story, while mainting plenty of gore.
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Cecilia Milocco in ‘Knackningar (Knocking)’
Directed by Frida Kempff and written by Emma Broström, the film stars Cecilia Milocco as a woman named Molly who is recovering from a nervous breakdown after experiencing an extreme loss. After checking out of a psychiatric ward and moving into a new apartment complex, she begins hearing mysterious knocking sounds. Paranoia sets in when no one in the mysterious complex believes her.
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Brea Grant in ‘Lucky’
The life of self-help author May (Brea Grant) spirals out of control when she finds herself battling a mysterious faceless assailant night after night. When no one seems to notice or care, she is pushed to her physical and psychological limits as she attempts to rid him from her life for good. Kermani and writer-star Grant’s incisive look at the terror of just being a woman in this world will linger in your mind long after its flashy finale.
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Barbara Hershey in ‘The Manor’
Also part of Welcome To The Blumhouse, writer-director Axelle Carolyn’s gothic thriller stars Barbara Hershey as Judith Albright, a woman who moves to Golden Sun Manor assisted living after suffering a mild stroke. While fighting for her agency, she begins to believe there is a sinister presence haunting the residents of the manor. Teaming up with fellow resident Roland (Bruce Davison), the two attempt to escape their confines rather than succumb to the evil forces surrounding them.
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Kiera Thompson in ‘Martyr’s Lane’
While living in a remote vicarage with her parents and surly older sister, 10-year-old Leah (Kiera Thompson) meets a strange girl in tattered angel wings while playing in the woods. Each time the girl visits Leah finds new clues to an old mystery that may cause her family’s fraught dynamics to unravel completely. Although she doesn’t quite stick the landing, with this film writer-director Ruth Platt offers a unique twist on the ghost story genre.
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Martina García in ‘Phobias’
In this anthology film each director brings a unique phobia to graphic life. Using a frame narrative to connect the five entries, their stories cross paths at a government testing facility where a crazed doctor attempts to weaponize fear. Watch out for a chilling performance from Macy Gray.
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Rose Williams in ‘The Power’
Set during power outages caused by a miners’ strike in early 1970s London, the film centers around Val (Rose Williams), a nurse in training. Spending her first night working in the East London Royal Infirmary in near total darkness, she begins to suspect there is something sinister lurking in the walls.
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Jennifer Ehle in ‘Saint Maud’
After a critically praised debut at the Toronto International Film Festival in 2019, writer-director Rose Glass’s psychological horror debut finally hit stateside earlier this year. Having recently converted to Roman Catholicism, hospice nurse Maud forms an unhealthy obsession with a former dancer in her care (Jennifer Ehle). Featuring a shocking finale, Oscar-winner Danny Boyle is among the film’s most ardent supporters, calling it “genuinely unsettling.”
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Romane Denis in ‘Slaxx’
In this horror-comedy, co-written with Patricia Gomez, writer-director Elza Kephart tackles the real life horrors caused by fast fashion. As a possessed pair of jeans goes on a killing spree inside a hip boutique overnight, new hire Libby McClean (Romane Denis) fights to escape the denim demon.
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Najarra Townsend in ‘The Stylist’
One day a lonely hair stylist (Najarra Townsend) who works from home snaps and kills a client (Brea Grant), leading her down a path of continued bloodlust that changes her life forever. Praised for its sharp comedy and stylish kills, Gevargizian’s film is a welcome entry into the slasher canon.
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Agathe Rousselle in ‘Titane,’ directed by Julia Ducournau
In this Cannes Palme d’Or-winning flick Alexia, a showgirl (Agathe Rousselle) at a motorshow with a titanium plate implanted in her head from a childhood crash, gets impregnated by a Cadillac and goes on a serial killing spree. On the run from the cops, she impersonates the long lost son of a fire chief named Vincent (Vincent Lindon). Equally as tender as it is disgusting, Ducournau is the reigning queen of body horror with heart.
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Amanda Seyfried in ‘Things Heard & Seen’
Based on the novel “All Things Cease to Appear” by Elizabeth Brundage, Berman and Pulcini use the philosophies and mysticism of Swedish pluralistic-Christian theologian and scientist Emanuel Swedenborg to put a new spin on the ghost story genre, while also exploring the dynamics of a fatally toxic marriage. The impressive cast includes Amanda Seyfried as Catherine, James Norton, Natalia Dyer, Karen Allen, and F. Murray Abraham.
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Madeleine Sims-Fewer in ‘Violation’
Playing both the 2020 Toronto International Film Festival and the 2021 Sundance Film Festival, this Canadian horror-drama follows Miriam (Madeleine Sims-Fewer), a traumatized woman on the edge of divorce who returns home for the first time in years. After her estranged sister and brother-in-law betray her trust, she seeks revenge in a most deranged and vicious manner. Praised for its rage and intensity, Sims-Fewer and Mancinelli’s film is a bold take on the revenge genre.
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A sink test scene in ‘Witch Hunt’
Set in a version of contemporary America where witches are real and witchcraft is illegal, a teenage girl (Gideon Adlon) faces her own prejudices as her mom (Elizabeth Mitchell) begins offering assistance to the orphaned children of witches seeking asylum in Mexico. While the metaphor isn’t always in the best taste, Callahan’s film continues the tradition of using the witch genre as a mode to express cultural criticism.
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