(L to R) Paul Mescal is Paul McCartney, Harris Dickinson is John Lennon, Joseph Quinn is George Harrison, and Barry Keoghan is Ringo Starr in ‘The Beatles – A Four-Film Cinematic Event’. Photo: Sony Pictures.
Preview:
The first official pictures of leads Paul Mescal, Barry Keoghan, Joseph Quinn and Harris Dickinson as the Beatles are online.
Sam Mendes is busy making linked movies under the banner The Beatles – A Four-Film Cinematic Event.
The movies will be released in 2028.
The cameras have already been rolling on Sam Mendes’ ambitious aim to chronicle a particular period in the life of musical sensations The Beatles, known as ‘The Beatles — A Four-Film Cinematic Event.’
Paul Mescal is Paul McCartney in ‘The Beatles – A Four-Film Cinematic Event’. Photo: Sony Pictures.
With the backing of Sony Pictures Classics –– not to mention being granted full life story and music rights by Beatles holding company Apple Corps Ltd. (not the iPhone gang), surviving members McCartney and Starr and the families of deceased colleagues Lennon and Harrison –– Mendes will make four different biopics, covering each Beatles’ experiences during the band’s rise to massive popularity.
Though a strict time period for what the movies will cover has yet to be announced, the idea is for the stories to (naturally intersect), looking to get a fuller, clearer picture of their time than any one movie could hope to accomplish.
Harris Dickinson is John Lennon in ‘The Beatles – A Four-Film Cinematic Event’. Photo: Sony Pictures.
Here’s what Mendes had to say about the project:
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies.”
When will ‘The Beatles — A Four-Film Cinematic Event’ be in theaters?
Barry Keoghan is Ringo Starr in ‘The Beatles – A Four-Film Cinematic Event’. Photo: Sony Pictures.
The current plan is for all four movies to land in April 2028.
Joseph Quinn is George Harrison in ‘The Beatles – A Four-Film Cinematic Event’. Photo: Sony Pictures.‘The Beatles – A Four-Film Cinematic Event’, directed by Sam Mendes. (L to R) Harris Dickinson (John Lennon), Paul Mescal (Paul McCartney), Barry Keoghan (Ringo Starr), and Joseph Quinn (George Harrison). In theaters April 2028. Photo by: John Russo.
Angela Lansbury as Jessica Fletcher in ‘Murder, She Wrote.’ Photo courtesy of Universal Television.
For those who didn’t grow up in the 1980s or have somehow gotten this far in life not knowing the name Jessica Fletcher, ‘Murder She Wrote’ was a crime procedural drama series that kicked off on CBS in 1984.
It stars Lansbury as Fletcher, a seemingly mild-mannered crime writer who has a penchant for digging into mysteries of all kinds. Working and living primarily in the fictional town of Cabot Cove, Maine, she’s consistently underestimated by police and criminals and ends up solving many murders.
For the new movie, ‘Dumb Money’ duo Lauren Schuker Blum and Rebecca Angelo wrote the screenplay based on the series. Curtis will take on the role as Fletcher, and the tone may tend towards warmly comedic.
What else has Jason Moore directed?
In addition to helping launch the ‘Pitch Perfect’ franchise, Moore has also been behind the camera for movies including ‘Sisters’ and ‘Shotgun Wedding.’
He’s also directed the pilot and served as an executive producer on ‘Elle,’ the upcoming ‘Legally Blonde’ prequel TV series at Prime Video.
(L to R) Jennifer Lopez, Josh Duhamel, and director Jason Moore on the set of ‘Shotgun Wedding’. Photo Credit: Ana Carballosa.
‘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): Tommy Lee Jones and Will Smith in ‘Men in Black.’ Photo: Sony Pictures.
Preview:
Sony is developing a new ‘Men in Black’ movie.
‘Bad Boys for Life’ writer Chris Bremner is at work on the script.
The studio is hoping Will Smith might return.
‘Men in Black’ is one of those legacy franchise that Sony doesn’t want lingering on a shelf. Despite a less-than-successful attempt to expand it via 2019’s Chris Hemsworth-starring ‘Men In Black: International,’ the studio is trying again with a new movie.
Will Smith in ‘Men in Black.’ Photo: Sony Pictures.
The original 1997 movie –– which was a huge hit, and one of those that helped cement Will Smith as a star –– adapted the graphic novel whose concept was of a police force on Earth that kept the planet safe from alien issues, and managed extraterrestrial residents.
Smith starred as the wise-cracking Agent J, recruited from the NYPD, who partnered up with Tommy Lee Jones’ grumpy K.
2002’s ‘Men in Black II’ wasn’t as big of a success, but it still did well, and was followed by 2012’s ‘Men in Black 3’, which introduced time travel.
As mentioned, ‘Men in Black: International’, which looked to extend the story in new directions, wasn’t embraced by audiences on the same level.
What will the new ‘Men in Black’ movie be about?
(L to R): Tommy Lee Jones and Will Smith in ‘Men in Black.’ Photo: Sony Pictures.
Details are few and far between as to exactly how Bremner’s effort will continue the story. Will it look to craft another chapter, a la ‘International,’ or will it stay within the confines of the usual ‘MIB’ New York world? We’ll have to wait and see.
According to Deadline, the draft that’s currently being written will include Agent J somehow, and that Smith will be among the first to see it (since he’ll want approval of any screenplay before he considers signing on), but there’s no word on whether that means he’ll be the focus again or if it’ll be more along the lines of ‘Tron: Ares’ where an original star simply cameos.
When will the new ‘Men in Black’ movie be in theaters?
Sony has yet to confirm it’s even in the works yet, let alone assigning this one a release date.
(L to R): Tommy Lee Jones and Will Smith in ‘Men in Black.’ Photo: Sony Pictures.
(Left) Saoirse Ronan as Rona in ‘The Outrun’. Photo: Martin Scott Powell. Courtesy of Sony Pictures Classics. (Center) Anna Sawai in ‘Monarch: Legacy of Monsters,’ coming soon to Apple TV+. (Right) Aimee Lou Wood in ‘The White Lotus’ Season 3. Photo: Fabio Lovino/HBO.
Preview:
Saoirse Ronan will play Linda McCartney in Sam Mendes’ Beatles project.
Anna Sawai and Aimee Lou Wood are among those circling roles.
(L to R) Ringo Starr, George Harrison, Paul McCartney, and John Lennon in ‘The Beatles: Eight Days a Week – The Touring Years.’
With the backing of Sony Pictures Classics –– not to mention being granted full life story and music rights by Beatles holding company Apple Corps Ltd. (not the iPhone gang), surviving members McCartney and Starr and the families of deceased colleagues Lennon and Harrison –– Mendes will make four different biopics, covering each Beatles’ experiences during the band’s rise to massive popularity.
Though a strict time period for what the movies will cover has yet to be announced, the idea is for the stories to (naturally intersect), looking to get a fuller, clearer picture of their time than any one movie could hope to accomplish.
Here’s what Mendes had to say about the project:
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies.”
When will ‘The Beatles — A Four-Film Cinematic Event’ be in theaters?
Mendes is currently aiming for the movies to release close together in April 2028, so he has his work cut out for him and a lot of hard day’s nights ahead.
Filmmaker Kogonada’s first two films, ‘Columbus’ (2017) and ‘After Yang’ (2021) were, respectively, an unconventionally low-key romance built around architecture and a melancholic meditation on what it means to be human in a high-tech society. ‘A Big Bold Beautiful Journey,’ his third feature and first production for a major Hollywood studio (Sony), attempts to combine whimsy and fantasy with themes of love, regret, and loss, only on a much bigger canvas.
But despite the presence of two of our most charismatic actors, Margot Robbie and Colin Farrell, the visually lovely film is let down by a treacly, frequently dull script (by Seth Reiss) that trades real emotions and characters for pre-programmed mannequins and faux sentimentality. It’s one of those movies that reveals all in its trailer (which has been playing for months) and offers nothing beyond its superficial gloss.
Robbie and Farrell play Sarah and David, two people who meet at a mutual friend’s wedding and strike up an immediate attraction, despite both attempting to wave it off (“I’m afraid of hating you,” says Sarah) and insisting they’re not in the market, despite clearly being two lonely, somewhat lost people. What neither knows is that they both rented cars for the occasion from the same mysterious agency, located in a vast warehouse in a narrow alley in the nameless city in which they both live.
The film slides into the fantastical from the start with David’s visit to the agency, where he’s served by a foul-mouthed, German-accented, overly enthusiastic cashier (Phoebe Waller-Bridge) and the more elderly, gruff mechanic (Kevin Kline), who rent him a long-discontinued 1994 Saturn SL with a special GPS that offers to take him – and Sarah – on the title trip, which they end up taking together after Sarah’s vehicle breaks down.
That trip takes David and Sarah to a series of doors in unusual places (like the middle of a forest), with each door leading to a moment in one or the other’s past that has defined their attitude toward life and love. In other words, the film offers up the kind of cheap Hollywood excuse for therapy and self-reflection which claims that if you can go back and confront that one thing that’s been hanging you up your whole life, everything else will sort itself out. Not only is that not true, but each major moment in both Sarah and David’s lives is the kind of trite cliché we’ve seen before: getting one last moment with a deceased parent, confronting a lost love, and so on.
The problem is that we don’t really know anything about either Sarah or David from the start, so they simply feel like automatons going through the motions as they take 109 minutes to arrive at the predetermined outcome of their journey. There’s no real emotion at play here, and no real chemistry either between the stars. When one finally confesses their love for the other, it seems almost comical – they literally just met a day or two before.
Kogonada has a great eye, and he and cinematographer Benjamin Loeb shoot the hell out of ‘A Big Bold Beautiful Journey,’ bathing everything in warm hues and glowing light. But the heart of the movie is hollow, the plot points overly stylized and self-consciously theatrical (Sarah and David actually end up on an empty stage at one point, like they’ve stumbled into a Lars von Trier movie), and the needle drops become increasingly heavy-handed, culminating in ‘Let My Love Open the Door’ playing as someone literally opens a door.
In her first screen role since 2023’s ‘Barbie,’ a luminous Margot Robbie does the best she can with a role that is severely underwritten. Sarah keeps telling David that she’s horrible; she tells her mother that she’s bad with men; and yet we never get any real sense of why that is except for what she tells us. Farrell also looks terrific in the film (Kogonada is certainly kind to his actors) and, like his co-star, tries to wrestle some humanity out of his character, but can only go so far with the barely sketched template he’s got to work from.
The best work in the film undoubtedly comes from Waller-Bridge as the car rental agency’s cashier, who gleefully doles out the word ‘f**k’ like candy (hence the otherwise unnecessary R rating) and injects some real Terry Gilliam-like absurdity into the opening moments of the story. It’s too bad she disappears for most of the rest of it, since more of her and Kevin Kline as her straight man would liven up the proceedings considerably. Except for the two leads, none of the other characters even merit actual names.
Kogonada’s first two films were marked by their intimacy and even dream-like atmosphere, as well as their own visual acumen, but only the latter makes it into ‘A Big Bold Beautiful Journey.’ The story is so predictable and undercooked, the themes so saccharine, and the characters so flat that this movie runs out of gas long before that Saturn SL ever has a chance to.
‘A Big Bold Beautiful Journey’ receives a score of 40 out of 100.
What is the plot of ‘‘A Big Bold Beautiful Journey’’?
Sarah (Margot Robbie) and David (Colin Farrell) are single strangers who meet at a mutual friend’s wedding and soon, through a surprising twist of fate, find themselves on a fantastical adventure together where they get to re-live important moments from their pasts and possibly get a chance to alter their futures.
Who is in the cast of ‘A Big Bold Beautiful Journey’?
Sony Pictures and Netflix are making a deal for a ‘ KPop Demon Hunters’ sequel.
The animated movie topped the box office and has soared in Netflix’s charts.
An awards run is planned for the first movie.
It should come as little surprise that, following the enormous success of animated outing ‘KPop Demon Hunters’ on Netflix, and the surprise smash hit of it topping the English-language charts this past weekend, that the streaming service and production studio Sony are making a deal for more.
While there are no concrete details about the sequel yet, it certainly makes sense for the two companies to come to terms for a follow-up.
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The first movie, which dropped on Netflix without much fanfare, has become a pop cultural sensation, including huge download figures for its songs and a dedicated, repeat-viewing fanbase.
When they aren’t selling out stadiums, K-pop superstars Rumi, Mira and Zoey (AKA HUNTR/X) use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat.
Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise.
The deal for the first ‘Demon Hunters’ — which was part of a larger, multi-title pact struck during the depths of the pandemic in 2021 — saw Netflix agreeing to cover the film’s entire $100 million budget in addition to paying Sony a fee of $25 million, or 25% of the budget and certain other costs. Sony also receives a piece of soundtrack sales, as well as music publishing fees for certain songs. Merchandising rights, however, belong solely to Netflix.
Some have said it was the wrong move by Sony to give up such a potential franchise cash cow, but given how tough it has been for original animation to make a dent on the box office, making it part of the company’s deal with Netflix has certainly paid dividends –– with the audience built via Netflix.
The renewed success of the movie has also led to Netflix positioning it as a potential Oscar nominee.
Directors Maggie Kang and Chris Appelhans have spoken publicly in the broadest strokes about a possible sequel, and are considered integral to the future of ‘Demon Hunters’. According to The Hollywood Reporter, Sony insiders say they have held preliminary conversations with the directors but as of yet, there is no deal on the table.
When will the ‘KPop Demon Hunters’ sequel hit screens?
That’s another big question. While you know the companies will want to strike while the iron is as hot as possible, it takes at least 2-3 years to make a movie like this, so we could be in for a wait.
(L to R) Hefty Smurf (Alex Winter), Vanity Smurf (Maya Erskine), Worry Smurf (Billie Lourd, Ken (Nick Offerman), Smurfette (Rihanna), No Name (James Corden), and Brainy Smurf (Xolo Mariduena) in ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
‘Smurfs’ receives a 4 out of 10 stars.
Coming exclusively to theaters on July 18th, it should come as no surprise to anyone that ‘Smurfs‘ is geared towards a much younger audience.
Directed by Chris Miller, and featuring the voices of many talented actors including Rihanna (Smurfette), James Corden (No Name), Nick Offerman (Ken), and John Goodman (Papa Smurf), ‘Smurfs’ is designed to capture the hearts of its target audience, which is young children.
(L to R) No Name (James Corden) and Smurfette (Rihanna) in ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
‘Smurfs’ was made to introduce a whole new generation to to the lovable blue creatures that sometimes go up against evil wizards. On paper this concept might sound silly, but many of us grew up with our own version of the Smurfs, and it is nice that the younger generation has theirs now, as well.
Director Chris Miller knows his way around an animated feature, having worked on many including ‘Puss in Boots‘ and ‘Shrek the Third‘, so expectations were high going into this one.
Script and Direction
Director Chris Miller on the set of ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
One thing that every parent knows is that little kids do not have a long attention span. Because of that, animated features need to be able to keep their attention with bright colors, humor geared towards them, and action sequences. There needs to be something going on at all times or they will start to lose interest.
Something that ‘Smurfs’ does is keep moving, that is for sure, but because of this, it loses a lot of the explanation and exposition that is needed to properly tell the story. For those that do not know (or remember) the lore of Smurfs, some key plot points will not hit as hard – or even make sense.
Papa Smurf (John Goodman) in ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
The main message of the movie is taking the time to find your thing, and what you bring to the table. Smurfs have names based on their personality traits. For example, Brainy Smurf, Hefty Smurf, and Grouchy Smurf. No Name has tried thousands of things, but has not yet discovered what he is good at, which is why he is nameless at the start of the film.
The confusion comes with other Smurfs having names like Ron and Ken, so why doesn’t No Name at least have a regular name until he finds his thing? This is never explained and while kids probably will not pick up on it, parents are sure to be perplexed.
Director Chris Miller on the set of ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
The animation itself is simple enough, but looks great on the big screen. ‘Smurfs’ is bright, colorful, and vibrant. Even when scenes take place in the evil Gargamel and Razamel’s lairs, it never gets too dark or scary. Later in the film, the plot points find a way to let the animators explore a few different styles. This is the best scene in the movie. It’s equal parts fun and creative.
While adults are sure to be rolling their eyes at many of the corny dad jokes being told, kids will be cracking up. This movie leans into the type of humor that it knows its audience wants, for better or worse.
Cast and Performances
Ken (Nick Offerman) in ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
‘Smurfs’ has a star-studded cast that includes many of the greatest actors working today. With so many Smurfs in the village, some of them only have a line or two to deliver, but they all still bring their A-game.
John Goodman voices the beloved Papa Smurf. This character is very well known, which you would think would add some pressure to the role, but he voices him perfectly. John Goodman’s voice is soothing and very fatherly that it instantly works.
James Corden does a great job as No Name, who is struggling throughout most of the movie. He brings a timidness to him that is needed to believe his journey. One of the most memorable characters is Mama Poot, voiced by the always hilarious Natasha Lyonne. She knows how to deliver a punchline, even if the line written is silly.
Rihanna in “Friend Of Mine” music video from ‘Smurfs’. Photo: Paramount Pictures.
The trailers teased that this movie was going to be a musical, going so far as to cast the incredibly talented Rihanna in the lead as Smurfette. From the start, it was clear that music was going to be the main focus, and while there are some songs kids will be singing on repeat, none of them standout as the hits of the summer.
Rihanna does a decent job as Smurfette, making her a likable enough character who encourages No Name throughout the film. That said, the script she is given does the character no favors, causing her backstory to feel rushed and come out of nowhere. Still, Rihanna does what she can with what she is given.
Final Thoughts
(L to R) Papa Smurf (John Goodman), No Name (James Corden), Smurfette (Rihanna) and Brainy Smurf (Xolo Mariduena) in ‘Smurfs’ from Paramount Animation. Photo: Paramount Pictures.
‘Smurfs’ is a good introduction to these characters for a new generation, but it is also lacking so much of what older generations love about them. The story is rushed and lacks a lot of explanation that is needed in order for it to make sense. It isn’t all bad though as the animation is pretty, Rihanna can sing (we all know that), and the messages of never giving up on yourself are important.
Despite a script filled with dad jokes that will land with the kids and leave adults rolling their eyes, it has its moments. If there were to be more movies in the franchise, kids will surely gobble them right up.
Say what you will, ‘Smurfs’ certainly knows what its target audience wants, and delivers on it.
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What’s the story of ‘Smurfs’?
When Papa Smurf (John Goodman) is mysteriously taken by evil wizards, Razamel and Gargamel, Smurfette (Rihanna) leads the Smurfs on a mission into the real world to save him. With the help of new friends, the Smurfs must discover what defines their destiny to save the universe.
An infected in Columbia Pictures’ ’28 Years Later’. Photo: Sony Pictures.
Director Danny Boyle’s ’28 Days Later,’ released in 2003, gave a fresh new spark of life (pardon the expression) to the reanimated dead. Well, hold up: the rabid, frenzied, flesh-tearing creatures of Boyle’s groundbreaking film were not zombies risen from the grave, but living humans infected with a powerful bioweapon – nicknamed the Rage Virus – that turned them into fast-moving, savage, homicidal murderers within minutes.
Boyle’s overwhelmingly violent Infected (as they came to be called), the use of digital video cameras for maximum flexibility, the filming in real locations, and the emphasis on character – particularly Cillian Murphy’s Jim – all contributed to the movie’s success and its impact on the zombie subgenre of horror, no matter what Boyle called his monsters. ’28 Weeks Later,’ a lackluster sequel without the involvement of either Boyle or writer Alex Garland (later to write and direct ‘Ex Machina,’‘Civil War,’ and ‘Warfare’), followed five years later, and rumors have persisted ever since about a third movie – with Boyle allegedly interested in returning.
Now it’s happened: Boyle and Garland have returned respectively to direct and write ’28 Years Later,’ which – as the title confirms – takes place decades after the initial outbreak of the Rage Virus. And true to form, the two filmmakers have once again crafted a horror epic that, while it may not feel as groundbreaking as the original, is incredibly intense, visceral, and atmospheric, while providing characters whose fates we come to care very much about.
Story and Direction
Director Danny Boyle for Columbia Pictures’ ’28 Years Later’. Photo: Anthony Ghnassia.
An opening card tells us that the Rage Virus was driven back from continental Europe but confined to the British mainland, with a strict quarantine in place and the survivors inside left to fend for themselves. Admittedly, there’s a rather large hole in the story here if you want to think about it: have there really been no attempts in nearly three decades to contact anyone living inside the quarantine zone, or find a way to rescue them? Perhaps Boyle and Garland are saying something about the transactional, indifferent relationship among nations now, in which a nation’s collapse leads others to push away as if they don’t want to get caught in its wake and pulled under with it, but it still sits there as a gap in the worldbuilding.
Otherwise that worldbuilding is largely well-handled. The bulk of the film takes place among the community of Holy Island, a thousand-acre patch floating off the coast and connected by a causeway. The community there is a rural, agrarian one, isolating themselves with heavy fortifications at the causeway entrance and the water around them doing the rest (their form of government is never quite explained, but they’re damn good at throwing drunken, almost ritualistic parties).
It’s here we meet 12-year-old Spike (Alfie Williams), his dad Jamie (Aaron Taylor-Johnson) and his mum Isla (Jodie Comer), as Spike prepares for a kind of rite of passage in which he and his dad will cross the causeway to the mainland so that Spike can kill his first Infected. Isla, however, is not completely on board with it, but can’t do much about it either: she is suffering from a malady that causes her great pain, mood disorders, and memory loss, and since Holy Island has no doctors there is no way to determine what is afflicting her.
Jamie and Spike’s trip to the mainland – the rules are that if they don’t come back, no one will go out to look for them – is not exactly a walk in the park. They’re pursued by both slow-moving Infected that have bloated into almost slug-like form and the fast-moving brand seen in the previous two movies, only now mostly filthy, naked, and barely recognizable as human. There are also “alphas,” leader-type Infected whose bodies have been expanded to strongman proportions by the Rage Virus and are, if anything, even more relentless and brutal than the regular flavor.
Spike makes his first kill, although he bungles the rest (“the more you kill, the easier it gets,” his dad offers helpfully), and learns that there is an insane man living further out in the land who may have once been a doctor. “There are strange people on the mainland,” Jamie warns, but after father and son return to Holy Island and a lavish celebration – during which Spike sees Jamie do something that is hurtful to the boy – Spike turns on his dad, smuggles Isla from the house, and secretly takes her to the mainland, where he hopes to locate the doctor, Ian Kelson, and see if he can make his mother well again.
All this plays out in a visual aesthetic that pays homage to the original film but enhances it. Boyle uses up to 20 iPhones to shoot some sequences, including a sort of version of “bullet time” for a number of the film’s very gory kills. Yet the film is also shot in an ultra-wide 2:76:1 ratio, giving it an expansive feel while retaining the intimacy of the original movie. The editing is quick, as in ’28 Days,’ and often choppy, mirroring the chaos of the world in which the story is set, while certain scenes – like Spike and Jamie’s frantic dash back on the causeway against a glittering star-filled sky – have a dark fairy tale patina to them.
There are other sequences, some even in broad daylight with the backdrop of pristine green fields and mountains behind them, that border on nightmarish due to the frightening assault of the Infected at nearly every turn. There are moments of beauty as well, such as a late scene between Spike and Isla in the temple of bones glimpsed in the trailers. And there are bucketfuls of in-your-face gore as the Infected kill or are killed, with plenty of guts, gouts of blood, and decapitated heads on hand (not to mention one skin-crawling yet eventually poignant scene on an abandoned train) to firmly establish this new entry’s credentials for the zombie horror crowd.
But best of all, there is a great story behind it all, anchored by terrific characters like Jamie, Spike, Isla, and later, Dr. Kelson (Ralph Fiennes). Although the script can feel episodic and there are some shifts in tone here and there that don’t quite line up, the fate of these people and the ordeal they go through is riveting enough to carry the movie to an ending that some folks may find irritating (because it all but advertises the sequel, ’28 Years Later: The Bone Temple,’ which is due out next January).
There are three outstanding performances in ’28 Years Later.’ The first is by Alfie Williams, making his motion picture debut as Spike. This is really Spike’s story, a chronicle of his passage from brave but still nervous boy into a stronger, more resilient, more mature warrior, and Williams handles it with confidence, charisma, and a lack of standard child actor tricks.
Next is Jodie Comer, whose Isla takes more of a central role in the film’s second half as she and Spike venture onto the mainland. Her body and mind wracked by her illness, Isla is trying to break through the fog that envelops her even as her memories splinter and merge. The excellent Comer portrays all this with great empathy and a tragic nobility, showing us why she’s one of the best actors to emerge in recent years.
And then there’s Ralph Fiennes, whose Dr. Kelson seems genuinely eccentric and bizarrely funny when we first meet him, but who deepens into a figure of great compassion and dignity even if he walks around coated in iodine (“the Rage Virus doesn’t like it at all,” he notes). Fiennes brings his effortless gravitas to a role that could have been a stock nutty survivalist but is instead imbued with humanity and grace. His bone temple is a “memento mori,” a remembrance of the dead, that has a stark beauty all its own, and Fiennes’ work reflects that.
As for Aaron Taylor-Johnson, he’s fine. Sturdy, fearless, rugged, Jamie is a pillar of the community, a loving but tough dad, and unfortunately a flawed man who loses the trust of his son. But the character is not as deeply portrayed as the others, and largely sits out the second half of the movie. The other notable player is Edvin Ryding as Erik, a Swedish soldier who gets trapped on the mainland and spends some time with Spike and Isla. Ryding provides some welcome comic relief as he describes modern conveniences in the outside world that Spike has no idea exist – and gets a big laugh when she shows Spike a photo of his cosmetically enhanced girlfriend, whose filler-boosted face remains Spike of a friend’s allergic reaction to shellfish.
Like ’28 Days Later,’ and unlike, say, the socio-politically minded zombie films of George A. Romero, ’28 Years Later’ shies away from sociological or political themes. Yet there is something here about the way that societies crumble so quickly and yet take so long to reform, as well as the way in which humans can fall so rapidly into savagery. There are tantalizing questions raised about who or what else lives on the mainland, as well as what exactly is going on in the outside world, some of which will perhaps be answered in ‘The Bone Temple’ or a third film.
But what these films do continue to be about – aside from Boyle and Garland providing audiences with an intense, heart-pounding experience from start to finish – is the way in which individual human beings will strive to be kind and do good even among the most horrific of circumstances. Whether it’s in 28 days, 28 weeks, or 28 years, this is a message that bears repeating.
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What is the plot of ’28 Years Later’?
It’s been almost three decades since the Rage Virus escaped a bioweapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. When one of a group of survivors leaves their heavily defended island on a mission to the mainland, he discovers horrors that have mutated not only the infected but other survivors as well.
