28 Years Later (2025)

Matt (00:00:00):

What is it about this movie that you love, this movie? What do you love so much about it?

Kota (00:00:06):

Oh man. There’s so much to love about this movie. I mean, this film to me speaks a lot more than it just being your 28 days. 28 weeks, 28 years zombie film. It’s more than that. Everything about this movie surrounds trauma,

Kota (00:00:30):

And as somebody like myself, I have been through tons of trauma in my 35 years of living that I felt relatable to some of these characters, especially the character of Spike and his willingness to try to save his mom and be there for his mom and even try to save his dad. Even when his dad does what he does, he still, you know what? I’m going to go be in my own man and I’m going to show you that I don’t need your help to become the person that I need to become. And I just relate to his character a lot, especially in the whole doctor scene. I think that scene was so beautifully done and the first time I watched it in theaters, I teared up a little bit The second time I watched into theaters, oh man, I bawled like a fucking baby. I was in my seat. Oh my God. No. And that’s what I love about movies is when movies can do that, especially in a movie that is centered around own a rage virus slash zombie in a sense, because they’re not really zombies, but it’s to feel that impact in a movie like this speaks volumes to me.

Matt (00:01:47):

Yeah, I mean, for all intents and purposes, there’s zombies and zombie movies are never just about zombies. The zombies are always a stand in for something and you said trauma, and I think that this is definitely about all the different ways people respond to trauma individually and then as a collective. And I think you see too really different approaches in the people on the island who are almost totally trying to just ignore death, not just like the zombies, but they’re ignoring the idea of death. Nobody’s able to tell Spike that his mom is dying even though it’s clear that she’s going to die.

Matt (00:02:27):

And she says, no one would tell me for you. And then you have Ray Fines who’s by himself, and he is embracing death as a part of life and embracing. That’s just like rebirth. This is all a cycle and we’re all connected. We will all be born, we will all die, and we don’t need to be so scared of death. The skull is the symbol of death. We need to really confront it and look at it and say, this is a person, this was a person with memories and we need to honor that. And he’s the only one being honest about this really traumatic thing that this country has gone through.

Matt (00:03:03):

And if you want to tie it into real events, I was thinking of COVID, I was thinking of in 2021 as America was getting back to normal, but still thousands of people were dying every day. And people would say, more people die every day than died at nine 11. But when nine 11 happened, we processed it. We mourned as a nation, but now we’re just totally forgetting about it. And that does sound insane when you get told that millions and millions of people died and we are acting like it didn’t happen. And I think that’s what Ray finds is kind of inhabiting here is like, no, you have to process it. You have to go through it.

Kota (00:03:43):

Yeah, you have to process because when shit like that happens to you or to anybody around you and you’re witnessing it, you got to process that in order to move on and accepting death in the form of this movie in order to get a grasp of the world around you, you have not scared to die. You got to embrace it.

Matt (00:04:11):

Or even if it’s you don’t have to, you can be scared, but it will happen. And that’s why we’re on this earth. And that’s why he says the two Latin phrases is Memento Maori. Remember, we Must Die Memento. I forget the other one, but it’s remember, we must love. That’s why we’re here. We are here for each other. We’re here to be connected to each other. And I wasn’t expecting something so beautiful in this movie. I was expecting, to be honest, I heard people say This movie is about Brexit. And that sounded annoying to me because I knew Alex Garland wrote it, and I didn’t like Civil War and I didn’t like warfare. And I think his politics annoy me, but I don’t think this movie is about Brexit. I think it’s dealing with much bigger questions and I love the way it looks. I love this is Danny Boyle as a visual stylist when he’s on, he’s on a very few others. He make the most exhilarating, magical sequences as he does I think twice in this movie with the chase across the causeway with the northern lights going on in the background.

Kota (00:05:21):

Did that scene feel like a dream to you? Yeah,

Matt (00:05:24):

I love

Kota (00:05:24):

It. Oh my fucking God, that scene, just the colors, the sky, the bird part was a little weird at first. I was like, so this dude can control birds? I don’t think so. But the second time I watched it, I was just sucked into the moment and I was like, oh my God. It’s intense. It’s beautifully shot. It has everything that a film lover should love in just a simple five minute sequence,

Matt (00:05:52):

And it’s like the zombie chase you expect from your zombie movie and divide this movie in halves. The first half is about the father and the son. The second half is about the mother and the son, and there’s the parallel sequence that’s also has this magical realism element to it when Ray finds is euthanizing the mother and then honoring her skull and all that. And that sequence is just as thrilling, but it’s not an action sequence. It’s a funeral basically, and it’s just as magical and surreal and trippy.

Kota (00:06:27):

I just love the way that was shot when Spike is sitting there and pretty much in his hallucinogen state because he was shot with that drug needle and you got the fire, the fireball going around the bone temple and around him, and he’s just sitting there holding the baby and I was moved, was completely shut down and just crying like a baby at that. I was like, okay, what are we doing here?

Matt (00:07:00):

Yeah, and I think one more thing before we get into it. I think that the movie’s dealing with the idea that whether it’s COVID or a zombie apocalypse, human beings have been around for a long time and will be around for a long time. People will say, I don’t even know if we’re going to be here a hundred years from now. But that in itself is its own form of denial. That is a way of denying that there is going to be a future, climate change is going to happen and the world might be way worse than a hundred years, but people will still be around and they will have lives and they will love each other and they’ll be trying to do their best. That’s why I think this movie has so many incorporates things from history and especially British history. It’ll show stuff from movies like Nights from Medieval Times, shooting Arrows.

Matt (00:07:48):

It has the stock footage of the World War I soldiers showing. Yeah, we didn’t think a zombie apocalypse would happen, but a lot of stuff’s going to happen and maybe it’ll take a hundred years, maybe it’ll take 10,000 years, but we will rebuild. We will keep going. The story doesn’t end with us. So it’s like you have the individual level where the mom dies and then gets symbolically reborn in a baby. I’m not saying her soul transforms into a baby. I’m just saying death and new life, they happen simultaneously, and then you have the society level. Our story is not over. It continues

Kota (00:08:25):

Now that you brought that part up, like the rebirthing of the mom and the burial scene or the funeral scene. Now that you brought that up, I didn’t really think about it with the fire going around him. It feels like her soul circling her son to, Hey, you’re going to be okay. It’s all good. You’re a man now. Well, not a man, but it felt like that. Now that you brought up, and I’m seeing it in my head, it felt like her soul was traveling around him to give him comfort while she passed on to the next life.

Matt (00:09:05):

Yeah, I mean, whether you are, I’m not religious, I don’t believe in God or anything, but I know that when people are gone, they are still with you. The things they taught you, the things that are in your personality. I think that’s the point of the scene where the mom is saying, when I look at you, I see my own dad. You do things that my dad would do. These things carry on within families and within friends, and they’ll pass down from generation to generation. And there is comfort in that, that they’re not literally gone or they’re gone. Even if they’re Wait, no, they’re not gone. Even if they’re literally gone. You know what I’m saying?

Kota (00:09:40):

I dunno. Do I know what you’re saying?

Matt (00:09:43):

So let’s just talk about this movie, man. We opened with the Teletubbies, of course.

Kota (00:09:47):

Yep, yep. Definitely do.

Matt (00:09:49):

I think I am a little too old for Teletubbies or to have the, Hey man, Teletubbies are fucked up, aren’t they? To have that as part of my sense of humor, I guess I’ve never been exposed to Teletubbies. Me and my brother were too old for it, so I didn’t absorb it in any way, but

Kota (00:10:06):

I was probably like, I think eight or nine when Teletubbies came out. But they always creeped me out as a child, so I never got into ’em. And then there was that rumor when I was a child that, what was it? Tinky Winky showed up naked on set or something like that. So they canceled the Teletubbies or something.

Matt (00:10:24):

I love you got to love rumors like that, that they spread also, his name is Tinky Winky. That’s not okay.

Kota (00:10:30):

I was close.

Matt (00:10:30):

Yeah, no, no, no, no. You got it right. I’m just saying that word itself is creepy.

Kota (00:10:36):

Then he got a baby in the sky as a son. What are we doing?

Matt (00:10:40):

The real life guy who was in the Barney costume was when he was not playing. Barney was a tantric sex therapist. He would have sex with people for money, and that was not a scandal, but it was like a thing. There was actual stuff people could have talked about on the playgrounds. Barney will have sex with you for money.

Kota (00:10:58):

He really will love you all. Yeah,

Matt (00:11:02):

He loves you. You love him.

Kota (00:11:04):

That is something I did not know, and it makes me glad that I was not a Barney fan growing up.

Matt (00:11:12):

These kids are all, I mean, these kids, when you first see them, it feels a little strange. They all seem a little too old to be watching Teletubbies. I like that. Every time you look at them, they look more upset. They know something terrible is going on, and for whatever reason, they’re like, just watch the tv.

Kota (00:11:28):

Just watch this kid show real quick before you die.

Matt (00:11:31):

Yeah. So this is the Scottish Highlands. We got Jimmy’s our main kid and his mom gets turned into a zombie and he’s like, oh mom, will you, oh no. And she’s like, run Jimmy. So he runs away, runs over to a church where his dad, who I guess is a minister of some sort, is like, it’s a blessed day. The day of judgment is finally here and awesome, awesome. You don’t know what the end times, if you believe the rapture or Armageddon or whatever is coming, you don’t know what it’s going to look like. It could look like zombies in fact’s, probably what it would be.

Kota (00:12:05):

Zombies are aliens. Who knows?

Matt (00:12:07):

Right? So this is a blessing and he is like, just remember God loves you, Jimmy. Here, take this chain. Take this cross. And then Jimmy hides as zombies come in and the dad’s like, come and claim me. My children.

Kota (00:12:20):

What confused me with that part with the dad is that the dad, the pastor or whatever, he’s excited. I guess you could say he’s excited for this rapture apocalypse, whatever’s going on, but he still decides to save his son. You know what I mean? He’s like, oh, here, hide under here. Take this for protection. But you were just telling me that, oh, the day of glory is here. Shit like that. We’re finally going to go meet our maker her, but sorry kid. You’re not welcome.

Matt (00:12:54):

Yeah. I don’t know if that’s because he does seem like a true believer or maybe his very specific idea is that children, you still have a destiny on this earth. I don’t know. It seems like you would want this character to be like, no, son. Let the zombies claim you too.

Kota (00:13:12):

Yeah, yeah.

Matt (00:13:13):

So I don’t know.

Kota (00:13:15):

We got to have plot points. All we got to have plot points.

Matt (00:13:17):

Well, I’m saying I know it’s not a mistake. I wonder what is actually going on in the philosophy of this weirdo dad who loves zombies,

Kota (00:13:29):

Loves them.

Matt (00:13:31):

We go on over, it’s 28 years later now. That’s the title of the movie. So a lot of this movie takes place on a real island called Linda’s Farn, also known as Holy Island off the northeast coast of England near the Scottish border. And this causeway, this awesome causeway that is a real thing that is called Holy Island causeway in the Real. I have some pictures on screen of the real thing. It’s a paved road in real life. I guess they CGI the pavement out of it, but it is just a thing. It’s a one mile long sort of natural bridge that you can drive across except twice a day. It gets submerged when the tide comes in. So there’s lots of websites. They’re like, here’s how you know the tide. Here’s how you know when it’s safe to cross. Here’s the signs you should look out for, because people will think I can make it. I have time. And then they’ll get stranded out in basically the middle of the ocean in their car, which is awesome to think about.

Kota (00:14:26):

Nope.

Matt (00:14:27):

Yeah. And this island was the site of a monastery for a long time, going back to the six hundreds ad prior to when there was a kingdom of England, when it was scattered petty kingdoms, the Anglo-Saxon kingdoms. When Christianity came to England, this was the hub of Christianity. Apparently this monastery was like a headquarters for where they would then spread Christianity to the Anglo-Saxon kingdoms. And afterward it remained a site, like a pilgrimage site, like a holy site for Christian pilgrims. So in the movie, you kind of have a reverse. The people from the island will make pilgrimages to the mainland. This is where this sort of thriving community has been living for 28 years. I mean, we see, the first thing we see is the flag of England, not the UK flag, but the flag of England. There’s a lot of symbols of England and English history throughout. They have the portrait of Queen Elizabeth on their wall of their town hall. People are herding sheep, they’re raising pigs. They’re fishing, they’re riding bicycles. So there’s a nice little town here that they got on Holy Island,

Kota (00:15:48):

Which I will say was a really good spot to put this story at.

Speaker 3 (00:15:55):

Oh

Kota (00:15:55):

Yeah. Hey, you know what? Instead of them living in a tiny town barricaded with walls and stuff, let’s put ’em on this island that you could only get to in certain parts of the day. I thought that was genius. That’s a really good spot.

Matt (00:16:10):

I love that. Yeah. The world is full of cool shit like that, that you’ve never heard of. Did you know there’s this island that you can only get to twice a day? Oh, cool. Sounds like a good idea for a movie.

Kota (00:16:20):

I want to visit there now because that’s fucking awesome.

Matt (00:16:23):

Yeah. Aaron Taylor Johnson plays Jamie. He’s the dad of our main character Spike. Spike is played by this young actor, Alfie Williams. So Coda, I think the thing that’s going to divide us the most is, I’m not saying this kid is bad. Alfie Williams does a fine job, does a fine job as Spike boy. They say the word spike a lot. Oh, spiky.

Kota (00:16:46):

Spiky by

Matt (00:16:46):

Boy. When your main character’s a kid, I lose like 30% of my interest right away. I just feel deflated. I don’t know, it’s just a prejudice I have.

Kota (00:16:55):

But why I don’t know about the character Spike is it’s a perfect character to portray this new trilogy coming out because it’s going to be all about him becoming the man that he needs to be by the end. Hopefully.

Matt (00:17:12):

I’m

Kota (00:17:12):

Hoping that it’s going to go,

Matt (00:17:14):

That sounds boring. I don’t want that. I hope he dies. He’s

Kota (00:17:16):

Not boring.

Matt (00:17:17):

I know. Well, don’t turn me into a movie. I think so much of this movie rests on his ability to act, and again, he does a fine job. I would never be able to give this performance, but kid actors are, it’s a tough job. I think you have to have a truly transcendent kid performance, and I don’t think we get that from here. Sorry, Alfie. If you listen, I know you are. I know you’re a Patreon subscriber.

Kota (00:17:45):

I mean he’s No Dakota Fanning if that’s what you’re getting at.

Matt (00:17:49):

No. Or you need Haley, Joel Osmond in the sixth, or ai. I mean the movie ai, artificial intelligence, again, he does a good job, but he’s in almost every shot of the movie. And I know that this is just a personal thing where I’m less interested in kids in movies than

Kota (00:18:10):

You’re saying. He’s in every single shot. The movie’s basically about him. What do you mean?

Matt (00:18:14):

Yeah, I wish it wasn’t about somebody else.

Kota (00:18:17):

You want it to be about the dad and his adultery?

Matt (00:18:21):

Yeah,

Kota (00:18:23):

That’d be more fun.

Matt (00:18:25):

And Rosie, we’ll get to Rosie.

Kota (00:18:27):

Rosie. My girl,

Matt (00:18:29):

Jody Comer is the mother. I mean, when we first see Alfie Williams’s spike, his dad is waking him up. Wake up son. It’s the big day. And he has this little power ranger toy or whatever this is, but this is a toy from a show that went off the air 30 years before he was born. It is just like this relic from the old world that he’s very attached to because he carries it with him. He’s going to carry it with him on his big day and then decides, no, I need to put this away. I’m no longer a child and leaves it behind in his bedroom.

Kota (00:18:59):

I was going to say, yeah, it was like a symbolism of him trying to leave his childhood behind to become a man.

Matt (00:19:05):

And then he goes down and his dad is making him breakfast and they’re having breakfast like, oh, you excited about killing some zombies? Oh yeah, yeah, dad, I am. And then you hear some rustling upstairs and you think, oh God, it’s a zombie. No, it’s just the mother. She’s just very ill up in her bed and they’re like, oh, that’s my crazy mom. Again, Jody Comer as the mother who has an unspecified illness, her mind is wandering. She doesn’t know what day it is. She will jump around in time, but then when Erin Taylor Johnson says, today’s the day Spike goes to the mainland, which is like this rite of passage that they have here on the island is you’re going to go to mainland England, which we still need to go to, and you’re going to have to learn how things work over there and how to kill zombies and how to stay safe. And she says, are you trying to kill our fucking baby? You cunt. You fucking baby murderer,

Kota (00:19:59):

Baby

Matt (00:20:00):

Murderer.

Kota (00:20:01):

You cunch. I love that.

Matt (00:20:03):

And then she quickly blips out of it and she’s like, oh, what are you doing today, Jamie? And Little Spike. And it’s like, I’m going to school. Just tell her. Should’ve just told her the whole time. Yeah, going to school, mom. See you later.

Kota (00:20:17):

Got to add some drama in the scene though.

Matt (00:20:20):

And Spike and Jamie, they’re heading through the town. They’re all clapping for them. They’re heroes and there’s going to be a big party for them tonight. This town appears to have 500 people in it. This is a bustling town.

Kota (00:20:33):

They’ve been recruiting

Matt (00:20:35):

And there’s this leadership council that greets them on their way to the bridge and they’re like, there’s the rule. If you don’t come back, we will not go out back to rescue you. We learned this the hard way. Once you go to the mainland, you’re on your own. And I guess here’s the Brexit ideas is not just in the world of this movie. I guess we should have said this upfront when 28 years later begins, only Britain had been infected, and then that movie ends with it seeming the virus is now going over to mainland Europe. But this movie starts by saying, don’t worry about that. It actually never, continental Europe was able to push the virus back, so the rest of the world is fine.

Kota (00:21:18):

Yeah, they were basically a rec conning. It’s weird because they basically say, this is a direct sequel to the first one we’re going to ignore 28 weeks later. We’ll just say That didn’t happen at the very beginning, but then later on they bring up that they nuke that city. So technically 28 weeks later, I guess semi did happen, but they’re just kind of ignoring it. No,

Matt (00:21:39):

I think that 28 weeks later ends with the suggestion that the virus is now going to take over Europe and the beginning text of this movie says they were able to stop that from happening. Don’t worry about it. It’s like a soft recon. It’s like, oh, we wish we hadn’t done that, but we got to acknowledge. We got to acknowledge it. Danny Boyle was the producer of that movie.

Kota (00:22:01):

He just wasn’t the director writer,

Matt (00:22:03):

But you’re still making the decisions on it. And he hired the director and he hired the writer.

Kota (00:22:07):

I think, I mean, I love this whole series. I thought 28 weeks later was, I hated it the first time I saw it because I saw it in theaters and for some reason that whole movie was completely dark and I couldn’t see anything that was happening, so I just couldn’t enjoy the movie as much as I wanted to. So then I think it was about a year later, I rented it or I bought it and I rewatched it and I was like, oh, look at that. I can see again. And I was like, let’s go. You got to be able to

Matt (00:22:36):

See a movie. That’s the thing.

Kota (00:22:38):

Yeah,

Matt (00:22:39):

It’s like an underrated part of the experience is being able to see the movie.

Kota (00:22:43):

Yeah,

Matt (00:22:43):

No, I like it too. I like it too. I think people have come around to it now.

Kota (00:22:48):

Yeah, I know when that movie first came out, people were like me, they didn’t really care for it. And over time I feel like that got more of a cult following and then got more of a big following, especially following the announcement when they announced 28 years later. Everybody was like, got to go back and watch the other ones. Let’s go.

Matt (00:23:08):

Yeah. I mean, to me, 28 days later is so specific. It’s so small. The way it’s shot is it’s shot on digital video camera. It looks crazy.

Speaker 3 (00:23:18):

It

Matt (00:23:18):

Looks like a whole movie. And I think it’s a good idea with 28 years later to not, or weeks later to try to make something different, go try to tell a different kind of story just in the same world. And that’s what they do here too. It’s not like this is trying to mimic the look or even the sound of the first movie. Well, the first movie just when it happened to come out, it was made in 2002, but it was released in America in the summer of 2003, just when the Iraq war was starting, and I think it was made before the Iraq War, but people were watching it and they’re like, oh my God, this feels like it’s about right now. This feels like a war zone movie and you can never plan when you try, you intend for your movie to feel like it’s saying something. It usually works way worse than if it just happens by accident. So it’s like you could never recreate the circumstances that 28 days later came out in.

Kota (00:24:12):

I remember watching it 28 days later on HBO when it premiered on HBO and I was hanging out with my buddies and their dad, and we were all watched it when it premiered on there, and I was just like, this movie is chaotic.

Kota (00:24:27):

It feels like there’s, in a good way, there’s no room to breathe. You don’t get much time to be able to sit there and take a lot of shit in because everything is just so happening. And I love that about it because it doesn’t give you 45 minutes of story leading up to it, followed by an hour and a half of Chaotic Blood Fest zombies running around, destroying everything. No, it gives it to you right off the bat, gives you the story that this isn’t just your normal zombie virus. This is a rage virus. These people are still people, but they can’t control their emotions and their rage and they just attack. And I thought that is such a unique twist on your normal, oh, the Dead are coming back to life kind of zombie film.

Matt (00:25:16):

Yeah, fast Zombies. I think, I don’t know if it was literally the first fastest zombie movie, but probably

Kota (00:25:23):

It’s the only one that I can remember. I’m sure there’s a zombie movie that either is a low budget or B that came out before 28 days later that had zombies that Ran and were really fast and such like that. But these zombies in this movie are terrifying. I do not want to be a part of that world. No. Give me The Walking Dead Zombies. I’m okay with that. I’ll survive that any day. But you give me zombies that are running after me and throwing up blood all over me. Nah, game over.

Matt (00:25:54):

Well, I think we’ll get into that more later in the movie, but this movie does suggest there’s more. These are not just mindless killing machines. They seem to have things going on in their head and maybe

Kota (00:26:07):

Evolved.

Matt (00:26:08):

Yeah. It’s not like we shouldn’t try to protect ourselves from them, but it is not as simple as they all need to be mass exterminated. There’s just nothing like the first when Cian Murphy’s going through London and it’s empty and that music is playing. There’s just nothing like any movie ever like that. It is the most surreal thing, and it’s just the simple thing of a camera filming a guy walking through a place where there should be millions of people and they somehow were able to film in all these places and just clear them out and it’s so amazing.

Kota (00:26:42):

Well, from what I read, the whole sequence of him walking around the city and they show the bus, the flipped over bus in front of their capitol or their city hall or whatever, apparently they didn’t even have permission to film because the city was not allowing them to shut it down and stop people from getting in their shots and such like that. So they end up having to film it super early in the morning while nobody was out and about and they got it done just like that.

Matt (00:27:14):

Yeah, they did some gorilla filmmaking stuff, which is why they had to use the flip phone cameras that they were using, and that’s why the movie looks the way it does. But alright, 28 years later, they’re crossing the causeway. We hear that Insane Boots thing that was in the trailer that was so scary cutting through all these moments of British history of people marching, of soldiers of scouts, school children marching, and the dad, I’m not saying this is clunky, but the dad’s like so spiky. Remind me again how the whole thing with the causeway and the tides works and he is like, well, as you know dad, the tide comes in and we’re able to cross. It’s like, yeah. Can you just tell the audience again how this works? It’s fine. This is all getting cut with footage of zombie hoards attacking the ships that are keeping the British Isles in quarantine. It’s both Great Britain and Ireland. We always forget about Ireland, but they also have zombies running their country, but they make it to mainland England and Spike spikes. I’ve never been in a place where I can’t see the sea. This is crazy.

Kota (00:28:30):

Look at all the trees.

Matt (00:28:31):

They come upon their first zombie and it’s a slow, low, not fast, but it doesn’t mean they aren’t dangerous. And the movie’s so great with its diversity of body types of, there’s body positivity for zombies in this movie. I don’t remember Fat zombies, but we finally get to see them and it’s great.

Kota (00:28:49):

I loved that they added stuff like this because I’m a big video gamer and I love zombie games. And so one thing I love about zombie games is that you’re not just met with your one type of zombie. You’re not just going to have that one slow walking or fast running zombie. You got a mixture of them. And I love that they finally added that into it. Like, oh yeah, they evolved and they evolved into different subcategories of different types of zombies that you need to be fucking scared of.

Matt (00:29:23):

Do you want something where they

Kota (00:29:26):

Explain it?

Matt (00:29:27):

Explain how all this works?

Kota (00:29:29):

No.

Matt (00:29:30):

Okay. Yeah.

Kota (00:29:31):

I wanted to leave it up to the viewers and the people that are watching the movie to come up with their own assumption of how they evolved this way with the alpha, these, as I would call ’em from last of us, BLOS and stuff like that. Slow, what’d you call ’em?

Matt (00:29:47):

Slowly slow, low. They’re slow and they’re low.

Kota (00:29:54):

But I think leave it up to the viewer to figure out in their own mind or come up with their own assumption of how they evolved this way and just leave it at that. We don’t need a backstory of how they evolved. Maybe if they talk about it over time, these zombies, they started procreating with other zombies and they started creating whatever the such. If they explain it just a little bit, I don’t want no clips and such like that. They go into a little bit of detail, but keep it in conspicuous. Keep it up to They just evolved.

Matt (00:30:27):

Yeah. How the experience of seeing them in the world would be, I don’t know how this zombie got to be like this. Same with the pregnant woman. I don’t know. How is the zombie pregnant? Was this a non-infected pregnant woman who got infected or are the zombies procreating, who knows?

Kota (00:30:45):

Which is what I liked about the doctor’s response to them finding the baby. And he is like, oh, I’ve always wondered about that, if that would actually happen or not. I was like, there you go. Don’t explain anymore. Don’t go into your theory. Just be like, I was wondering about that.

Matt (00:31:01):

That’s just what makes me nervous about that this is going to be a trilogy and that this movie ends on a cliffhanger.

Kota (00:31:09):

It’s going to end with Killian Murphy, though.

Matt (00:31:11):

I mean, fine.

Kota (00:31:13):

They already stated that because apparently the third part, the final part to it, which they haven’t filmed yet, sadly. And it makes me upset because they’re waiting to see if they can get the funding for it from what Danny Boyle said. And yeah, he states that the ending of the second one’s going to end with Kelly Murphy showing up, and apparently the third part is Killian Murphy’s story. So I’m like, all right, how are we going to tie Killian the doctor and Spike and Jamie altogether by the end of it?

Matt (00:31:47):

Is it true that he’s not playing Jim? He’s actually playing j Robert Oppenheimer.

Kota (00:31:52):

You’re right. You’re right.

Matt (00:31:54):

This is the result of what he built.

Matt (00:31:57):

Going to build a zombie bomb, get all the best scientific minds of the world, that sort of stuff. I know that for movie studios, it’s like, what’s the point of making one movie? We need to make a trilogy. And this movie had a much bigger budget than I realized it would cost $60 million and it was a hit, but it wasn’t like a sinners level hit. I’m sure we’ll get three movies or we’ll get a third movie, but I guess what I don’t want is I don’t need these questions asked. I love how much mystery there is to this world, and that seems to be the point of the movie is the mystery that you are not going to get answers as a person living in this world, why should we as viewers get answers? There’s so many things going on in this movie. There’s so many things going on on the island that seem a little strange, and is this a weird Celtic cult that founded this island? Why are these people wearing death masks? I don’t know. I don’t want them to necessarily tell me why.

Kota (00:33:00):

I will say though, that mask is creepy as hell in that little segment. That is a creepy ass mask. And I have been curious on why they had that little segment because it’s more of they set it up like, oh, this is becoming a man party. If it’s becoming a man party, why do we need these creepy ass mask with fuck? Well, actually, now that I think about it, I get it. Nevermind. What? Well, because I’m looking at the image and it has a arrow through the head. I guess those are the infected, and you became a man. So this mask represents you becoming a man because you killed your first zombie out there in the real world on the mainland.

Matt (00:33:44):

But when we see these people setting up their party, and notably it is all women setting up this party. So there does seem to be a traditional gender hierarchy on this island, maybe, although you can’t really tell if that is the case, and there’s just a person, a girl, or a woman in this death mask in the middle of this hall, and nobody’s acknowledging her. She’s standing motionless and there’s even a lens smudge over her face. So it’s unclear is she actually there or is this because the movie will engage in some surreal imagery of stuff that’s not really happening? Is she just symbolically there? Is she symbolically representing the death that they’re not willing to acknowledge? I don’t

Kota (00:34:25):

Know. And Danny and especially Alex, they love subliminal messaging, or not subliminal messaging, but just imagery in their films without explanation, especially Alex. Alex will give you a bunch of shit and be like, figure it out yourself.

Matt (00:34:40):

Yeah, it’s very effective. That is a great looking mask. That is a great image. But that scene where all the women are setting up for the party and they have their crest of this island, holy Island mission established 2002. So it is kind of like they’re trying to rebuild a more traditional society. And in sequels, I hope that this doesn’t get to be revealed to be some sort of wickerman like we’re evil. We have an evil cult here. I hope it is just people trying to figure things out. And it doesn’t have to be more evil than that.

Kota (00:35:22):

Have you noticed a lot of the imagery of the color red throughout the movie?

Matt (00:35:26):

Now that I’m looking at all these screenshots that I took?

Kota (00:35:29):

That’s what I was just thinking too. I’m seeing these images and I’m like, that’s a lot of focus on the color red,

Matt (00:35:37):

Right? And the red Frisbee, the red frisbee that they find.

Kota (00:35:41):

Yeah, there’s a lot of imagery on that, and I just now noticing it.

Matt (00:35:45):

Yeah, I’m bad at noticing color.

Kota (00:35:48):

I’m colorblind.

Matt (00:35:49):

It’s not that I’m colorblind. I’m just like, I’m colored, indifferent. And then, yeah, that’s a way to put it. It takes somebody explaining it’s bad because I make money as a graphic designer, so that’s not good. Don’t tell anybody.

Kota (00:36:03):

Well, everybody knows now.

Matt (00:36:06):

I didn’t say I was a good graphic designer, so yeah. Well, anyway, they, they’re out. They’re hunting zombies. Spiky gets this first kill. Great. You did good spike. And then they keep walking. He’s like, oh, hell yeah, an abandoned creepy house. Let’s go into it. Let’s see what’s in there. And there’s a red Frisbee, and he’s like, look at this. It’s great Frisbee. We don’t have anything like this back home, but there is a freaking zombie in the house being suspended from the ceiling upside down with a blood bag on its head and a crow eating on it. And the word Jimmy carved into its back,

Kota (00:36:41):

I don’t know if we want to talk about this right now. It does have to deal with the ending go. So later on, how we meet the other soldier when Spike and them meet him. I have a feeling a little side theory that the person that they find dangled in this house with the word Jimmy carved on his chest is I think the other, another soldier that was with that platoon

Matt (00:37:08):

With the Swedish commandos who get stranded.

Kota (00:37:12):

And so I think that we are going to get some explanation hopefully to that. And the whole tie in that the Jimmy Gang, they’re all representing Jimmy Seville. They all look like just a bunch of Jimmy. And I think that that soldier, because they don’t know what Jimmy Seville did, because during this whole apocalypse in this world, Jimmy in real life wasn’t founded out until after his death in 2011.

Matt (00:37:42):

Well, why don’t for our Yankee audience talk about Jimmy, that

Kota (00:37:48):

Jimmy Ville. Okay, so Jimmy Saville was a DJ radio personality for kids.

Matt (00:37:55):

Yeah, just public figure broadcaster. Yeah. Yeah.

Kota (00:37:59):

So he passed, I’m not even going to say, let’s just say he fucking died in 2011.

Matt (00:38:06):

Yeah, he’s in hell.

Kota (00:38:07):

Yeah. Very much deep part of hell. Shortly after his death, a lot of people started coming out about stories about how Jimmy used to essay them and do horrible things to children like horrible things. And I think it was a little over a hundred accounts came out after his death, and he became the UK’s most prolific child predator. And it was after his death of, and so I think

Matt (00:38:36):

Although people, it was a thing like with Jeffrey Epstein here, where people knew at the time, people did know, but it was once he was dead, then we could acknowledge it.

Kota (00:38:46):

People were probably scared because just of how popular he was in the uk Yeah, uk,

Speaker 3 (00:38:52):

Right?

Kota (00:38:52):

Yeah. He was very popular out there. People were probably scared because they’re like, nobody’s going to believe this. He has too big of a backing. It’s one of those things that I could tell people, but are they going to listen?

Matt (00:39:07):

No. Yeah. The thing that happens all the time throughout history.

Kota (00:39:11):

And so I think that that soldier that is strung upside down and the worst, Jimmy, and it’s also on the side of the house that it says, what does it say? Behold, Jimmy is coming, or Jimmy is upon us. It’s something like that. And I think that that’s a guard, one of the soldiers, and he ran into this Jimmy Gang, and I bet they were probably some semi okay-ish people, but they’re living in an apocalyptic world. I think this soldier ended up being like, why are you guys dressed a bunch of Jimmy s? Why are you, oh, he’s our idol. We liked that guy. We grew up watching him. We want to be just like him. And then he goes forth and tells him, well, he was a pedophile. He touched little children and did horrible things to these kids, and they probably got like, oh, don’t you dare talk about him like that strung him up, carved Jimmy and left.

Matt (00:40:08):

Although maybe in this world, nobody ever found that out.

Kota (00:40:12):

Well, people outside maybe found it out,

Matt (00:40:14):

But presumably they know it. He got killed by a zombie. I don’t know. My head is spinning with,

Kota (00:40:21):

So there is also a Reddit, which how he brought that up, there’s a Reddit post where somebody talks about that. What if Jimmy, I don’t think they’re going to have him in the movie like his character or a character representing him because just somehow how dark it is. But

Matt (00:40:35):

Oh my God,

Kota (00:40:36):

There is some people on Reddit saying that he had a house out in Ireland, and there’s pictures of his house destroyed with graffiti all over it. So some people are like, what if in the next movie it’s revealed that Jimmy was actually in Ireland when this apocalypse happened? He got stuck out there. He took Jimmy in from the very beginning, took him in to take care of him, but did some horrible stuff to him. They started grabbing other kids and making it part of the cult. And then of course, Jimmy dies, and now these kids are just sick, twisted fucks walking into this apocalyptic world. And I thought about that one too. I was like, Ooh, that would be a really dark term for

Matt (00:41:19):

If I had to guess, I would say that the word Jimmy Seville, Jimmy Savill will not get uttered in this sequel. I think it is just like the visual look of these characters. You could literally say they inspired by his look and that it probably doesn’t go further than that, but maybe I

Kota (00:41:38):

Hope not. But then again, I mean, Alex Garland does like to be a little controversial sometimes. I mean,

Matt (00:41:46):

Not that controversial. You never know. Is Jeffrey Epstein a zombie in this world too? Actually none. They think about it need see, is the queen a zombie? Can we get some royal family members being zombies? Can we get the Spice Girl zombies? Who are some other David Beckham zombie? Simon Cowell zombie. We need all the greats. We need to see all of them as zombies,

Kota (00:42:10):

Zombie zombies. Simon Cow would be fucking hilarious. Oh man.

Matt (00:42:18):

So the dad’s like, yeah, oh, great. There’s something else. Another lesson I can teach you, son. Here, shoot the zombie in the head. Don’t worry it. It’s got no mind, it has no soul. So go ahead and do it. But Spike sort of hesitates, even though he successfully killed a zombie earlier, this one’s much closer and it’s not that easy. But the point is you have to keep doing it. This is a part of life and this is how it will make it easier for you. So they kill this zombie, and then they, oh, they go out into the woods and they see a deer’s head with its spine still intact hanging from a tree, and then the movie cuts away and shows an alpha doing this shows one of many times where this alpha, who we come to learn is, his name is S Samson. This alpha just pulls a head off of something and just pulls it off with a spine intact. It’s a very memorable idea. And the dad is like, I’ve seen some fucked up shit, but this is pretty fucked up. So let’s go home, son.

Kota (00:43:19):

Yeah, he, he’s knows it’s an alpha, and I love that the alpha, again, they’re evolved. He’s marking his territory type of shit like, Hey, we’re here, so if you don’t want to fuck with us, you might want to fucking leave. I love that. I like the whole, when I kill something, I rip the head with the spine out like the core of an apple. Fuck, I love it.

Matt (00:43:47):

So he’s like, yeah, time to go home, but dad, won’t we look like pussies if we get home early? And he’s like, spiky, no more questions from this point on, please. So they get chased by a hoard of zombies led by the alpha. It culminates him and then them hiding in the attic of a house and they see the alpha out in the distance and they just have to wait it out. And they’re like, okay, well, we’re going to miss the tide. Who knows how long we’re going to be here? And we’re cutting back and forth between here and back home where they’re setting up their party and spike notices in the distance that there is a fire. And he’s like, who’s lighting that fire? And the dad is evasive about it, doesn’t want to talk about it. Clearly he knows who’s lighting that fire, but he want to stay.

Kota (00:44:31):

Well, then he also brings up, it’s either at that scene or before where he talks about there are other people that live on the mainland, but they are just weirder than we are. And I love that he calls them weird. There’s some weird ass people. Just stay clear of them. You don’t want to be a weirdo yourself. Now, spike,

Matt (00:44:53):

That’s where the idea that this island seems to be a very conservative thing, conservative culture. You can make that case for saying stuff like that. Like, oh, we don’t want to go associate with all those weirdos who live in northern England,

Speaker 3 (00:45:08):

Who does that,

Matt (00:45:10):

But the house collapses around them. Just this house is so old that people being in it makes it fall down. So they run away, and then the zombies find them and they’re like, oh, quick back to the causeway. But the tide, the water’s still there. It’s low enough tide that it’s shin deep. So they just run through water. And this is where we get the just incredible fucking magical realism sequence where the alpha is chasing them through the water as the literal northern lights are in the sky and the music is going nuts. And every obstacle they get to, I said this already, but the dad is like, okay, the waters. The water’s chin deep. Not a problem. Sun, just take off your boots, line up the gates and we’ll be fine. Just keep going. Oh, the alpha’s pursuing. Not a problem, sun. Just keep your eyes forward, keep steady. Stick to the plan. Oh, the zombies about to fucking eat us. Don’t worry, son. I think this is the end. But we’ve had a good run. We just remember to breathe, but they reach the gates in time and they fucking kill the zombie with flaming arrows. It rules so good.

Kota (00:46:09):

Yes, it does. And they shoot it with a giant ass spike looking arrow too. The thing that put it down. I was like, holy fuck.

Matt (00:46:16):

They’ve been wanting to shoot that arrow for so long. They’re so fucking

Kota (00:46:19):

Excited. That Arrow was like, man, I made this 25 years ago. Finally.

Matt (00:46:24):

I know. And so they go to their beer hall and have a party, a party that looks awesome. I’ve always wanted to go to one of these English singalong parties where someone’s just some drunks on stage playing in accordion, and everyone’s singing Unison. M and Pippin are there. They’re singing about their favorite tavern from the Shire.

Kota (00:46:47):

From the Shire,

Matt (00:46:48):

Yeah. And there’s a kid, the dad is giving a big, telling a story. He’s exaggerating his son’s deeds, but he’s trying to puff his son up. This he’s so tough. He continued shooting and he shot one right through the neck and the kid’s like, oh no, dad. I wasn’t that. No, shut up. You were great.

Kota (00:47:06):

I was waiting for him to slap him in the back of the head, shut up. I’m trying to pump you up. Get out of here.

Matt (00:47:10):

Yeah, and I mean this dad, the movie’s not, not saying this is a terrible, he is a good dad. He is very tough, but he’s very, very empathetic with his son and

Matt (00:47:23):

Tells him everything he needs to his son’s like, well, I wasn’t able to get the shots off that I was supposed to. And he’s like, no, the fact that you kept trying is the point. They’re grown men, they’re grown people who couldn’t do that. Your hand was steady, you kept doing it, and this is all just part of growing. This is how it has to start. I couldn’t be prouder of you. But then we also see his dad. Well have an affair with another woman despite his own wife being at home, dying in his bed. But I don’t think the movie’s judgmental about it.

Kota (00:47:58):

Not as much as they tried to put Spike to be more judgmental towards him. They kind, alright, he’s cheating. The son saw it. He confronts the dad, tells him to fuck off. And that’s pretty much about it.

Matt (00:48:12):

Yeah.

Kota (00:48:13):

They didn’t dwindle on it.

Matt (00:48:15):

And you can understand where the sun’s coming from. The spike is also, it is disturbing him, his dad now turning this really traumatizing thing that they went through into a heroic tale, into a fun like, Hey, let’s all drink some beers while we tell the story. So he’s sort of learning how the adult world works and learning a lot of stuff is bullshit. You can’t believe everything you hear. Nope.

Matt (00:48:41):

And that he goes home and Sam the Archer is there to help his mom and starts talking to him and he says, I saw this fire out in the mainland. And Sam says, oh, that must be Dr. Kelson. He used to be my general practitioner, but he’s, he’s gone a bit Daffy. And Spike is like, but Dad said all the real doctors are dead. If there’s a doctor out there, why won’t he go get this doctor? Why won’t he help my mom? And he also says, I feel like he’s lying about everything. He starts talking about feeling like people on this island are lying about stuff.

Kota (00:49:17):

I think a lot of stuff’s going to be revealed about this island next movie.

Matt (00:49:20):

Well, that’s what I was saying. I don’t care about that. I don’t know.

Kota (00:49:27):

We’ll have to see how they do it.

Matt (00:49:28):

Yeah, I would prefer, this is not a utopia, but they seem like they have a good thing going. I don’t need it to be revealed that they sacrifice a baby on the full moon every month.

Kota (00:49:40):

But a little bit of backstory on how the island became what it is now. I’m not talking, I don’t need a full 30 minute backstory, but then maybe have Jimmy talking about it. Maybe he runs into the doctor trying to go save Spike because I know he’s going to leave the island to go try to get Spike back. So what if he runs into the doctor? Maybe they talk about like, oh, you left. Why did you leave? Everybody said you left because you’re batshit crazy. And he was like, oh, I’m not crazy. I’m really saying they’re just crazy or some shit like that.

Matt (00:50:15):

Well, yeah. I mean the next morning Spike talks to his dad and says, I know there’s a doctor out there. Why haven’t you told me about him? He is like, okay, fine. I’ll tell you this story. I went out with a foraging party before you were born and we were freaked out. We smelled the smell of death coming from this place where we saw Dr. Kelson and the movie’s not showing us Dr. Kelson yet, but Ray finds this is in the movie, so you figure that’s who this is just arranging hundreds of corpses in lines. And he’s like, and the scariest fucking part was he looked right at us and he just gestured in a casual way. Come on down. Oh, it was so fucked up. You wouldn’t believe it. So we ran away. It was too weird for us, which is to the point, these are conservative people who are afraid of anything a little different. And I like that when we find out what’s really going on with Dr. Kelson. I mean, I like everything about Dr. Kelson and Ray fines because you’re so used to zombie movies where the situation you find yourself in the third act like, oh, this is the actual villain and this is the actual bad guy. That’s what happens in 28 days later. But it’s the exact opposite here, is this is the person who’s responding the most sanely to the world that he lives in.

Kota (00:51:33):

He’s got critical thinking, as my teachers would say, back in high school.

Matt (00:51:38):

Right, right. I’m in a crazy situation and there are people who are acting like this is normal, but he tells his dad basically alludes, I know you had sex with Rosie the town, Harlett stay away from us forever.

Kota (00:51:57):

Yeah, the town Harlett, that’s

Matt (00:51:58):

Their job. You know how they have the scene where they’re showing all the jobs they have in town, like farmer, pig man, Harlett. So Spike,

Kota (00:52:12):

You should have made a little side-by-side picture of that, just like farmer,

Matt (00:52:18):

Every town’s got to have one,

Kota (00:52:20):

Every town.

Matt (00:52:22):

So he decides I’m taking my mom to the Dr. Kelson. So he lights a fire and he’s like, oh, all guards. Look the fucking fire’s over there. And they’re like, oh shit, okay, we got to go put it out. Spike, please man, this guard tower for us. And he is like, will do. And then they’ll leave and he is like, come on mom. And they just leave the island.

Kota (00:52:42):

He couldn’t have started a little grass fire. He had to burn all their supplies.

Matt (00:52:47):

He knew it needed to be a fire that would draw everybody out. It’s like,

Kota (00:52:51):

Oh, that is true.

Matt (00:52:52):

Oh shit, the hay, our stack of haze on fire over there. Everybody leave.

Kota (00:52:58):

Everybody leave.

Matt (00:53:02):

Maybe he took out all the really important stuff and put it somewhere else.

Kota (00:53:07):

He took it with him.

Matt (00:53:10):

So they get to the mainland and the mom mind is coming in and out. She will forget where she is. She will forget what moment she’s in time. She realizes they’re on the mainland and she freaks out. And I think Jodi Comer, this is when she’s really involved in the movie now, and I think she’s really good. She’s playing the terror of I’m on the mainland. That’s not okay. That’s not fucking okay. We have to get back, start screaming for their dad. But very quickly, spike is able to say like, no, we’re going to see a doctor and he’s going to make you better. And she’s just like, okay, I got to trust you.

Kota (00:53:44):

That’s her boy.

Matt (00:53:46):

They find a church and they go to sleep in the church Now, I don’t know Coda, you know, is there any sign on the island of Christianity? Do they have any crosses anywhere on the island?

Kota (00:53:59):

On the island? Not that I’m aware of, honestly. Now that you bring that up, I don’t remember ever seeing any kind of cross, not even a Celtic cross, like nothing.

Matt (00:54:11):

Right. We don’t see a church. I just think it’s interesting. The first thing they do is they go sleep in a church on the mainland

Kota (00:54:18):

And very open church too.

Matt (00:54:20):

Yeah. I wonder if this island is like, we’re going to back to Old

Kota (00:54:26):

England because the only thing they have is just the flag, the English flag, the England flag. That’s about it. I don’t remember them showing a church showing any kind of crosses. So yeah, I mean,

Matt (00:54:39):

For as conservative as they seem to be, it’s interesting that you don’t see any evident religious practices there.

Kota (00:54:49):

It feels like them going to the mainland is their church,

Matt (00:54:55):

And it’s even like a pilgrimage you have to make. It’s a rite of passage.

Matt (00:55:01):

So there’s a section where they’re laying down in the church and his mom, I really love this. She’s like, Hey, is your dad ever silly with you? And he’s like, what are you talking about? She’s like, is he ever silly with you? My dad was my dad. Everybody thought he was very serious, man. But he was very silly with me. We joked, we had our inside jokes and he is like, no, dad’s never. She’s like, ah, well, he’s just trying to make sure you’re tough enough. But I just love that for everything she’s worried about in the world, this is clearly a concern to the mom of, do you have any joy? Do you have any fun? Do you have any light? Do you have any lightness in your life? I’m not able to give that to you. And it concerns me that your dad isn’t giving it to you either.

Kota (00:55:43):

Yeah, that part, that’s where the tears were starting for me. I was like, oh geez.

Matt (00:55:50):

But I mean, I think when the dad finds the Frisbee, it is in the dad, he is like, oh, maybe in a clinical way. Like, oh, I put on my to-do list, have fun with the boy. So this will be our fun tool. We’ll go throw the old throwing disc around when we have time. So there’s just a really, really well done sequence where a fat, slow, low crawls on the ground of the church. We’re getting all these overhead shots spike has fallen asleep and the zombie gets up to spike’s, shoelace starts eating the shoelace and then spits it out, and then is going to move on to eating spike’s flesh before it is knocked the fuck out. And then Spike and Isla, the mom wake up the next morning right there not knowing what happened, but a flashback shows that Isla did it, that she just doesn’t remember doing it.

Kota (00:56:38):

Fucking brutal too. Let me grab your head real quick and fucking smash it in this

Matt (00:56:42):

Wall. Just smashes the shit out of it. Yeah,

Kota (00:56:44):

Love that scene. And then when she’s flashing back the terror in her eyes, like, oh my God, I did that. But at the same time she was like, I was protecting my son.

Matt (00:56:58):

Do you think that’s literally her remembering it? I didn’t read it that way.

Kota (00:57:03):

What? Did you read it as

Matt (00:57:04):

The movie? No, I think you’re right because she will. Yeah.

Kota (00:57:09):

I felt it as her flashing back being like, okay, I’m the one that did it. This thing was going to kill my son. Yeah, I’m a little traumatic that I had. I did something so brutal like that right next to my son. But shit’s got to happen protection.

Matt (00:57:25):

And the first half of the movie is about him and his dad. And his dad is very much the traditional protector dad. And I’m literally taking you out hunting and teaching you how to hunt so that one day you can lead the hunt. Then the mom, the mom is not able to occupy her nurturing role and she’s not able to protect. The son is being more the caregiver to the mom. And then there will be the thing with she will mistake her son for her own dad and will call him dad. It is like he’s being a parent to her, but we see she still has it in her. She still has the protective, mothering instinct and will protect her son without even realizing it.

Kota (00:58:01):

Just the lostness in her eyes too in certain scenes when she’s like, you could see her forgetting or when she called spike her dad and then realized shortly after, instead Spike It was it so sad to watch you’re just watching just her mind deteriorate, but try to come back at the same time and it’s a little hard to watch sometimes. I’m not going to lie.

Matt (00:58:28):

I had never heard, when she says lead in the movie, she says, I know that I’m saying I didn’t write it down. It’s like I know that what I’m saying makes no sense. I can tell that what I’m saying makes no sense. So there’s a part of her that is still intact but knows she can’t get the right words out. And I found that kind of devastating.

Kota (00:58:47):

Yeah, her character, I wish we got a little bit more time with her character. I’m not going to lie, but I think the time that we got was crucial to building the story for the next film.

Matt (00:59:02):

So we then abruptly cut away to some fucking Special Forces soldiers, and I was like, I had to rewind. I was like, I’m sorry, my mind just drifted a minute. Where are we now?

Kota (00:59:13):

Okay, so in theaters, I thought they cut the movie off and put something else on. Me and Tiffany we’re sitting there and all of a, it just shows the troops. I’m like, what the fuck happened to the movie? I was like, did they change our movie on us?

Matt (00:59:26):

Darth Vader’s on screen. What the hell? But we’ll come to find out, these are Swedish commandos. I meant to, if I had more time, I was going to look up. So what of a Swedish special, special forces up to, and the main guy we meet later is I joined the Swedish Navy. Is there a Swedish Navy? But whatever. They’re in England for whatever reason, getting traced by zombies, and we see how quickly and easily they’re overwhelmed despite having machine guns and tactical gear and all that shit. And we see the alpha now come and pull one of their fucking spines out and then use the spine to whip one of the others which rules.

Speaker 3 (01:00:00):

Yeah, it was awesome. Yeah, it did.

Matt (01:00:03):

And then I think we cut away to another section where some zombies are either bathing in a stream, either they’re bathing or they’re just drinking the water. And then we see the pregnant zombie, just some fucked up shit is happening

Kota (01:00:18):

With the creek scene. It felt more like children and they were playing in the water. I mean, they’re infected, they’re not there and their minds, but maybe they held onto the part of their minds held onto their childhood in a sense. And so it felt like, to me again, at least it felt like it looked more like they were playing in the water. Oh my god, water ha ha like little children.

Matt (01:00:49):

Yeah, that could be it. Not like they seem like they necessarily know what they’re doing, but they know it’s water. It’s like, I know I’m supposed to do something with this, but, and these zombies, they eat, so they need to eat and presumably they need to drink as well. I don’t know.

Kota (01:01:06):

They won’t ever know

Matt (01:01:07):

Iah and Spike. So they’re walking and they arrive at the statue of this is a real thing. The Angel of the North, which is a 60 foot modern art installation in Gateshead England, built in 1998, but Isla Jodi comer, her mind is moving through time. She’s literally unstuck in time and she thinks she’s with her dad. She remembers being with her dad when she was a little girl and him explaining this statue to her and saying, this statue is always, it’s going to outlast us. It’s going to be a legacy. That’s this recurring idea through the movie of like, we’re here for a short period of time, but the things we do, our deeds and our monuments will outlast us. But it’s like we have fallen into the future. And she says she got scared when her dad told her that she thought her dad was being serious, that they really had fallen into the future. How many hundreds of years have we fallen? Is it thousands or is it more, I love that this movie is playing with this idea of we exist in a continuum, in a history of people. There were people before us. There will be people after us.

Kota (01:02:10):

I didn’t even know that stature was real. So that’s actually another really cool fact. Thank you.

Matt (01:02:16):

And would’ve been basically brand new to the world when the zombie apocalypse happened, and it’s one of several monuments. There are monuments throughout the movie, or maybe not monuments, they pass windmills that aren’t working. They pass this thing and then Ray finds is building a monument that he intends to outlast him. That’s what we need to make our mark on the world, because we’re only going to be here a short time. But yeah, zombies approach, and they go to a shell station where the H or the S is missing. So it just says hell, you get it and they’re going to get eaten, but they get saved by a Swedish commando. Eric or Erik, he’s the only Swedish commando who’s left their boat crashed. They were on patrol out in the sea and then their boat crashed, and they said, we hoped we wouldn’t end up on the shore, but we did.

Kota (01:03:16):

We weren’t intended to come here, but well, we’re here.

Matt (01:03:20):

No, what I love, and I think I watched this movie twice in the past few days. I was not crazy about Eric at first, but the second time around. I really liked him and I really liked the way that this actor who, I don’t remember who this actor is, he’s playing him as just kind of a big dumb guy, very demanding, big dumb guy. In other words, the exact guy who would end up in this job. So he saves them. He fucking kills 30 zombies, and then he turns to the small child and he is like, so what happens now? And the kid’s like, what the fuck are you talking? Wait, you’re the big, you’re the one with the guns. You’re the big Arnold Schwarzenegger guy. And he is like, no, no, no, I’m completely out of my depths. You’re a native. What happens here?

Matt (01:04:02):

Do they come back now? And he has no experience with zombies? Well, he calls them the Zark, which I like, but he’s like, he’s only learned about them from books and from training. And when they’re walking, they’re talking about how he ended up here. He was saying back home, I had this friend named Felix who was a delivery driver, and basically he realized, I don’t want to be like Felix. I want to do something with my life. So he joined the Navy, but I think he only wanted to do something in as far as I wanted to be on a boat surrounding the British Isles. I didn’t ever actually want to do anything dangerous. I wanted to feel like I was doing something. I know it’s the most we ever get of a sense of the outside world over in Sweden. Life is just going, things are normal, but you’re always aware, Hey, over in Britain let’s overrun by zombies. That’s crazy.

Kota (01:04:59):

Also, I didn’t even notice that the gas station right there, even though it says hell, it also says Happy eater,

Matt (01:05:06):

Which I keep thinking is happy Easter

Kota (01:05:10):

Could be

Speaker 3 (01:05:10):

Either

Kota (01:05:10):

Happy eat.

Matt (01:05:11):

So the world would just keep going and be like, oh, that sucks for the British people, zombies. Oh, well, got to go to work tomorrow because that is what happens. There’s crazy shit going on in the world right now that we do not spend all of our time thinking about or ever think maybe I should go and personally do something about it. And so he’s like, you’re going to get rescued, right? They’re going to come get you. And he’s like, no, no. I’m on the fucking evil island now. I’m one of you,

Kota (01:05:46):

One of us, one us.

Matt (01:05:50):

And I like Spike says, I knew there was a quarantine, but I thought it was only for us. And then he is like, no, no, I’m one of you now of any poor fucker island on this island. And so they have a little picnic, they sit around and eat apples on a picnic blanket, and Eric takes out his phone and he takes it out with the casualness of somebody who just takes out their phone out to just scroll. And he’s like 1% and no signal here. And he shows it to Spike. And I think he is like, I’m going to blow this kid’s fucking mind with my smartphone. And spike’s like, who cares?

Kota (01:06:25):

I don’t give a fuck about that

Matt (01:06:27):

Because I think this is a really great observation. We think we live in this technological wonderland. It doesn’t mean shit. It doesn’t help us in any way. It doesn’t make our lives better. And if we showed it to somebody who’d never experienced it, they would think, this is less than useless. You’re not even showing me anything. And then Eric just throws it. He just throws it away.

Kota (01:06:49):

Well, don’t forget, he showed him a picture of his girlfriend and spiking him with the what’s wrong with her lips, which

Matt (01:06:57):

That looks like a stock photo. I assumed he was lying. This is not actually his girlfriend, but maybe not.

Kota (01:07:02):

Well, it ain’t no more.

Matt (01:07:04):

Yeah, not anymore. Not

Kota (01:07:05):

Anymore.

Matt (01:07:08):

Yeah. I like the way he’s playing this guy as a dumb asshole or a dick, because Jody Comer says, this guy’s a dick. And spike’s like, no mom. No, he’s nice. He saved us. And she’s like, I know a dick when I see one and Eric’s face, he actually seems kind of affected by this. Like, oh man, she’s right. I am a dick. Despite being a nice Aryan sw who speaks perfect English, I kind of suck. I So Isla stands up and she’s like, well, let’s get going. And Eric’s like, she could walk now carrying her on his back,

Kota (01:07:43):

Carrying her. I loved his face. His jaw dropped. Hold on. What?

Matt (01:07:51):

Yeah,

Matt (01:07:52):

So he starts talking to Spike. He’s like, you English, you have your stupid, you call ’em zombies, we call him. That’s a much better word, because it’s like they’re a Viking. Actually, no, I’m a Viking. I’m like a Viking, really? Because I’m Swedish. We’re Vikings. And yeah, English history is defined by getting invaded by Vikings tons of times over a course of hundreds of hundreds of years. And these zombies, it’s kind of just another thing that’s happening to this country, but they hear some screaming coming from an abandoned train and ALA’s, like, I’ll go investigate. It’s a pregnant woman, the pregnant zombie, and she’s in labor. But we see a little connection between the zombie pregnant woman and Isla mother to mother, because Isla reaches out her hands and the zombie cakes them so that she can help her deliver the baby. Very, very interesting scene. Leah Isla. Suddenly her mind is totally there. She knows exactly what to do. She’s very capable and knows, got to cut the cord from the placenta right away, pour water on the baby, somehow not get any blood in the baby’s mouth or whatever. And then they realize this baby’s not infected. This is a normal human baby.

Kota (01:09:02):

It seems like they’re going to, I don’t know if they’re going to go this way and try to go for, oh, there’s a cure at the end of this movie or anything like that with 28 weeks later, but it kind of feels like they’re going to make this baby immune to this virus.

Matt (01:09:17):

Yeah, I could see that. Yeah. Isn’t that what happens in the last of us? We got to preserve. Okay. Yeah.

Kota (01:09:27):

And so I think it is going to, when people start figuring that out, especially the people at the island, okay, how was this baby born? Who was this baby born from? And then when they find out that, oh my God, it was born from a zombie, I think people on that island are going to want to get their hands on this baby.

Matt (01:09:45):

So they need to not tell anybody. Keep that real hush hush, please. This is not a zombie baby normal human deal with What’s the deal with this baby? Totally normal. Nothing really to see. It

Kota (01:09:57):

Turns out my mom was pregnant the whole time and she just popped out this baby. That’s where it came from.

Matt (01:10:01):

Yeah, I mean, the explanation here is that the baby was protected by the placenta. Motherhood being a very important theme in this movie and just happened to have non-infected people right there to immediately take care of her and know that you got to cut, got cut her immediately from the mother before the mother’s placenta comes out and all that stuff. Yum. Until I had a wife who had a baby. I didn’t know that a mother gives birth to the baby and then has to do labor again with the placenta, which is crazy, but the

Kota (01:10:41):

Zombie, okay, did I know that till now?

Matt (01:10:43):

Because the zombie still looks pregnant. She still has all that mass inside her. Got to shoot all that stuff out now. But she springs back to life like, ah, I’m a zombie again. And the commando shoots her dead. They’re like, Hey, you didn’t have to do that. And he’s like, no, this fucking baby, this fucked up country. I hate it. I want to leave. I want to get out of here. And they’re like, no, this baby’s fine. And then basically the alpha comes in and rips Swedish commando’s head off with his spine, and so they run away and Spike is shooting arrows at this big alpha. We get our first really good look at his alpha and his just enormous dick, and he

Kota (01:11:21):

Just, his 28 inches,

Matt (01:11:23):

That’s why it’s called 28 inches later. And why he’s the alpha, and I guess why he likes spine so much. It feels like he’s wielding his giant dick.

Kota (01:11:32):

I love how he chases after him still holding Eric’s head in his hand. And then you get that glimpse of, that was my wife, baby mama.

Matt (01:11:44):

You got my child. That’s what I wanted to ask about. He does seem to have an acknowledgement of this either. I know her. Okay, I am glad you pointed that out. I thought that maybe was what that suggested was that his wife or something.

Kota (01:12:00):

So I’m wondering actually, now that I just brought that up, wondering if this baby is going to become an alpha.

Matt (01:12:07):

Oh, it’s an alpha,

Kota (01:12:09):

It’s something. All right.

Matt (01:12:11):

She’s an alpha, like how Lacey’s an alpha

Kota (01:12:15):

Lacey’s the ultimate alpha.

Matt (01:12:18):

So Spike is shooting him with arrows, but they’re having a little effect. But then a dart ray finds arrives in the movie covered in red iodine or iodine, shoots him with a dart. And he’s like, oh, hello, I’m a doctor. This is Samson. The alpha’s name is Samson. And Ray finds his Dr. Kelson, and the movie is sort of teasing. Is he Marlon Brando and Apocalypse Now? He gone just totally wild. Is he fucking crazy? No, it’s quite the opposite. He knows what it takes to survive, and he’s very kind and warm. Ray fines can be the scariest man you’ve ever seen in a movie, but he can also be the kindest, warmest person that you’ve ever seen in a movie. And that’s the mode he’s playing here and doesn’t even want to kill the zombies. He thinks like, I’m going to protect myself from them, but they deserve to be alive just like we deserve to be alive. He doesn’t say that. He doesn’t say that. That’s just how I read the character.

Kota (01:13:24):

Oh, I a hundred percent agree with that. He’s not a murderer. He’s not murdering these zombies or these humans or any of that. He’s trying to set them free, if that makes sense. If they die of natural causes, he’s going to make sure he gives them a natural sendoff. Even though they were blood thirsty, he’s still going to treat ’em like they were human beings.

Matt (01:13:49):

They were human and they were victims too. And we are focused so much on protecting ourselves, but they are also victims of everything that has happened, and they lived lives and they deserve the dignity of being remembered. And that’s what he is dedicating his life to. And I love Spike introduces himself. He’s like, are you Dr. Kelson? I’m Spike. This is my mom, Isla, and this is a baby I just love. And this is a baby. Yeah, doesn’t have a name, but just this is a baby. So he takes them through his home, a monument of bone towers, and Spike says, he’s like, what is this? And Ray finds this great. He’s like, I’ve been waiting 13 years to answer that question. He’s wanted somebody to come see and talk to him about it. But every time somebody gets close, they get scared away and leave.

Kota (01:14:41):

They think he was just a crazy maniac.

Matt (01:14:43):

Yeah, you got to work on your presentation a little bit, Dr. Kelson. But he never, maybe that was an issue when he was a doctor too.

Kota (01:14:51):

You know how doctors are, they don’t know how to talk to regular people unless it’s a doctor,

Matt (01:14:55):

Although he seems great at that. He seems like he would have just excellent bedside manner.

Matt (01:15:02):

But he’s like, yeah. So he explains his whole thing. Memento Maori, remember death. Remember, you must die. This is a monument to death, but it’s also a celebration of life. And he has, it’s simultaneously a spiritual connection, but it’s also scientific. He is a doctor by training, and he knows we are just bodies. We are just a collection of flesh and neurons and brains and stuff, but eventually we will die. And all that’s going to be left is a skull, is bones, and that freaks us out, but it doesn’t need to freak us out. Every skull is a set of thoughts. These sockets saw, these jaws spoke and swallowed. This is a monument to them, a temple. So like the angel, like the windmills. It’s a monument that’s going to outlast us. And we get to see his little process where he takes the severed head of Eric and shaves off everything. And now it’s a skull that he’s going to add to his temple, his operation. It’s as sophisticated as the island society, but he’s all by himself. He’s not putting all his efforts into trying to rebuild society. He’s putting all of his talents and efforts into remembering the dead.

Kota (01:16:09):

It’s a great character arc. It really is. And I’m excited to learn more about the doctor in the next film.

Matt (01:16:18):

I already said it, but refines can deliver just warmth and kindness like few others. And with all the gentleness he has, he gives Isla a medical exam to the best that he can. And he tells her afterward, I don’t have any diagnostic equipment. I can’t perform a biopsy, but I think you have cancer. It’s spread from your brain to your body or your body to your brain. And she also, comer is so good, she’s playing it as confused but also determined to take this all in. And she’s getting the answer. She always knew. She knew it in her heart that this is what was going on. So there’s also relief. Finally, someone is saying it,

Matt (01:17:00):

And she says to her, son, I needed someone else to tell you, but no one did because for whatever reason, nobody on the island is willing to acknowledge death despite living amongst death all the time. And he says, you’re going to die and it’ll be soon and it’ll be painful. No, even back before the society collapsed, there wouldn’t have been medicine that could help her right now. And Spike is doing the like, no, we got to do some go to a hospital. He’s like, and now it’s the mother. Spike has been in charge of taking care of his mother the whole time, but now she’s fully like, no, I need to take care of you now, son. You need to understand. You need to understand that this will be okay. He can’t. She says, the doctor can’t make me better, but he can help me. And I want you to remember that. And somehow she and Ray finds just through eye contact, concoct this entire plan that they’re first going to drug the sun with a dart and then drug her. But it’s really beautiful,

Kota (01:18:01):

Very beautiful.

Matt (01:18:02):

Yeah, shoots, shoots spike with just like a sedative or whatever it is, just to keep him calm. And he has to hold the baby. And Ray fines gets down and tells him, memento Maori. It means, remember, we must die. There are many kinds of death. Some are better than others. The best are peaceful when we leave each other in love. You love your mother. Your mother loves you. Memento Amim, remember, you must love Memento Amim. It is the point of being a human being. It is the thing that defines us is that we are part of something. We are connected to each other. Ray finds so fucking good here, maybe should get an Oscar nomination.

Kota (01:18:41):

I would back that. I would back that a hundred percent.

Matt (01:18:47):

So he summons Isla and they walk through the towers and he just shoots a dart at her to euthanize her, and then he burns her body, and we have another magical realism sequence with the fire swirling and spikes. Memories are jumping through time, and he’s singing to the baby, and the baby is looking up at him, making eye contact with him. And so yes, spiritually it is like Isla is getting reborn as this baby who at the end of the movie they say is named Isla. And again, I’m not saying that’s literally happening. I’m saying that that is just kind of how things work is people, they die and people are born and we’re all connected to each other. So Ray Fines comes back with Islas skull, and I think this is the best moment for Alfie Williams, the actor who plays Spike because he’s playing it as a kid who’s struggling to understand, but he is starting to get it. And Ray finds is like this skull, this is your mother. And he takes it and he’s like, put it in the best spot on the tower. So the kid climbs the tower, puts the mom’s skull at the top, and then kisses it and says, goodbye, mom.

Kota (01:19:53):

Him flipping the skull to face the sun. So that way she’s always able to watch the sun rise and sun fall at the same time.

Matt (01:20:00):

Oh, I didn’t notice that. Okay. Puts it at the very top. Points it toward,

Kota (01:20:05):

Yeah. So he has it facing one way and then he’s looking at the sun and he faces it that way and watches the sunrise with her one last time, beautiful shot, beautiful shot.

Matt (01:20:18):

The skull is the symbol of death. If you pick an emoji that represents death, it’s the skull. And he’s like, he has to confront, this is my mom, this skull here, this is my mom. And we don’t have to be so afraid of it, but that is what makes us who we are. I wonder, this is so great, so emotional. I wonder this movie was really well received, but I have to imagine there were horror movie people who showed up at this movie. They’re like, what the fuck is this movie?

Kota (01:20:53):

This movie got a lot of mixed feelings from a lot of people. You have a lot of people that like me, really love this movie. And then you have people that are like, this movie was a pile of shit pretty much because it didn’t know what it wanted to be. You have the story of the dad and son at the beginning, then the mom and son at the middle, and then you have that weird ass last five minutes of that movie that made no sense, and it was a total tone shift and the subject that they were doing. I was like, well, clearly you’ve never seen the Alex Garland and Danny Boyle movie that they made together. You would know that usually they do a tone shift towards some part of their movie with Sunshine. You had it in the third act. It went from Let’s Save the Earth to a, I guess, semi space zombies. And people, even Quentin Tarantino, he hates that. He’s like, I love that movie, but I hate the final act. Well, Tarantino, you also like feet. I don’t know what to tell you there, buddy.

Matt (01:22:00):

Hey,

Kota (01:22:00):

Feet are okay.

Matt (01:22:04):

He’s right about everything else. Everything he’s ever said is correct.

Kota (01:22:09):

But yeah, I don’t know why it got such a mixed baggage. When we get to the ends portion, I’ll explain how I think the second one’s going to either open or how they’re going to explain the ending.

Matt (01:22:23):

Well, I think for people who are horror fans, there are people who say, I’m not a movie fan. I’m a horror fan, and I expect a certain thing out of a horror movie to have the climax of the horror movie be a funeral where there’s no zombies anywhere to be found right here. To me, it’s an exhilarating thing to see, but I could definitely see people thinking this is boring

Kota (01:22:49):

To a lot of people that they also went in there expecting that they were going to get 28 days later done over again. Pretty much that’s what they wanted. That’s what they didn’t get. And also Danny and Alex, they’re not ones to give fans what they want. They’re going to give you what they want and you’re just going to hopefully like it or not,

Matt (01:23:16):

Which gives me hope for the sequels

Kota (01:23:20):

Because

Matt (01:23:22):

The very worst thing that can happen is we want to please the fans because fans suck. Fans don’t know shit.

Kota (01:23:28):

No. Yeah, dude, a hundred percent. I’d rather give my time and attention to a director that is not sitting there being like, what do you guys want to see? Okay, you want to see that? Alright, lemme put that in. No, dude. Put your vision into this movie. Let us see your vision. If it’s good, it’s good. If it’s bad, it’s bad. If it’s phenomenal, it’s phenomenal.

Matt (01:23:51):

Yeah. At least you tried something.

Kota (01:23:53):

Exactly. You ain’t going to know if it’s going to work or not, unless you try it.

Matt (01:23:58):

So Samson returns that dangled s Samson is back again and he has them. Alex, no, Alex. Alex Garland is in the scene. I

Kota (01:24:08):

Knew it.

Matt (01:24:09):

Spiky and the baby and Ray finds hide underground, but Sampson just sticks his giant ma through the gate grabs Ray finds his head and is about to decapitate him doing his move to everybody. But Spike sticks him with a dart.

Kota (01:24:24):

I thought the doctor was about to die. I’m not going to lie. I was like, no, no.

Matt (01:24:29):

Well, and I love what he says. He’s just like, thank you, spike. I think it’s time for you and the baby to go home.

Kota (01:24:35):

You guys need to leave now.

Matt (01:24:39):

But I mean, he has put a target on. Well, I don’t know. I think it’s just like I feel very connected to you, but it’s not like we are starting a family here. I’m not your new father Spike.

Kota (01:24:50):

Yeah, you need to go be your own man.

Matt (01:24:52):

So Spike returns home and leaves the baby at the gate and returns to the mainland, and the movie will kind of jump. It’s editing it in a way where it jumps forward 28 days later, but then flashes back. The baby was left with a note for Spike’s. Dad, this baby’s name is Isah. Be kind to her. I will come back. Don’t come look for me, but I just need to go figure some shit out. I got to like, what do I want to do with my life? Do I want to go to film school? What do I want?

Matt (01:25:22):

Well, as all this happened is happening, we are hearing the song that is from the first movie that plays Win. Ilian Murphy is wandering through London, just that great song that I don’t remember the band. The band who does that song, I think were one of the reasons that 28 days later was not available on streaming for a long time because they were very protective of their music rights. But I guess they figured it out for this. But yeah, spike gets attacked by some zombies, but he gets saved by a bunch of weird BRTs in gaudy tracksuits. And we already talked about Jimmy Savill, but as they’re doing this, a fucking metal version, a screamo version of the Teletubby theme plays, and these guys, they seem to really take pleasure in the violence. They inflict the zombies.

Matt (01:26:06):

They want to fucking be as gruesome as possible and really seem delighted. And then Jimmy says like, Hey, I’m Jimmy. I’m the kid from the beginning of the movie. Nice to meet you. And he has his dad’s cross on, but the cross is upside down and he says, let’s be pals. And that’s just where the movie ends. That’s where the movie ends. So 28 years later, the Bone Temple is coming out next January, directed by Nia DeCosta. Danny Boyle’s still in producing. Alex Garland is writing. Killian Murphy is returning, but again, he’s playing j Robert Oppenheimer. So we’ll see what that looks like. But that’s the movie.

Kota (01:26:42):

Alright, so the ending, so I don’t know if you listened in the two times that you watched it, but the Jimmy Gang actually sets up Spike to get attacked. So when he’s sitting there cooking on the fire and whatnot, you hear people screaming and doing like aha, aha kind of shit in the woods. And he looks up and that’s when the zombies start chasing after him. So the Jimmy Gang sets it up to rescue him to feel like, Hey, we’re your protectors. Also, when I brought up at the beginning how I think this movie surrounds a lot of trauma based trauma at a young age, I do not think that’s how Spike was saved. I think the way that they were flipping in the air and doing all that crazy shit, don’t get me wrong, we seen it in the new trailer that they are pretty fucking badass, but I don’t think it went down the way it went down. I think they did some really fucked up shit or whatever trying to save him. And it blocked it out to where he’s like, okay, power Rangers, I’m going to think about these guys, the Power Rangers or the Teletubbies coming to save me. But I put it as more as Power Rangers for the simple fact of him having the Power Ranger toy at the very beginning.

Matt (01:28:06):

And they are wearing colorful costumes, although he would never have seen Power Rangers or Teletubbies, but maybe it’s just this is what he imagines it would look like.

Kota (01:28:17):

But that we know of, I mean, we don’t have no backstory of him showing some old tapes or some shit like that. You never know.

Matt (01:28:23):

Maybe they had an iPad. That’s why he wasn’t that impressed with the phone. He’s like, oh, it’ss just a small iPad.

Speaker 3 (01:28:32):

It’s

Kota (01:28:32):

Just a small iPad. Also, Jack O’Connell, who plays Jimmy, he stated, which is why I think that Bone Temple is going to be really fucked up. I think it’s going to be brutal. I think it’s going to be just a gut punch and the fact of the kills are going to be really good in that, but it’s going to be a lot more, I think we’re going to get more human interaction kills than we are going to get zombie. I think we’re going to get a lot of zombie kills, don’t get me wrong, but we’re going to see a lot more of this Jimmy Gang and how they have survived on this mainland doing what they do, which is being a pack of Teletubbies or whatever. It’s, he stated in a podcast episode that this movie is his darkest role he’s ever done. So I’m like, this is,

Matt (01:29:28):

Yeah, I didn’t think it would turn out like, oh, he is actually a really nice guy. He’s going to be really helpful,

Kota (01:29:34):

Very helpful. He showed me how to get down to the street.

Matt (01:29:38):

Yeah, I mean for me, all that matters is, is it a good movie? How well directed is it? And N Acosta has made some good movies and some bad movies, not that the Marvels was her fault, her first movie, little Woods. I think she does have a sort of the ability to tell really intimate stories. So I could see her being a good fit here. So I don’t know, maybe it’ll be great. Everything that I like about these movies comes from Danny Boyle and him not being the director makes me not as excited.

Kota (01:30:11):

It does have me a little worried. I was expecting Danny to, originally, I thought that Danny was directing all three of ’em. I thought it was going to be him directing Alex Garland riding. That’s how it was going to be. So when I found out that Nia DeCosta, is that how you say her last

Speaker 3 (01:30:27):

Name? Yeah.

Kota (01:30:28):

Okay. Alright. When I found out about her, I’m not going to lie, didn’t even the name didn’t ring a bell. I looked at her IMDB page and saw that she made the Marbles, which it’s a movie. Let’s just put it that way. It’s a movie that suffered from a bad script.

Matt (01:30:45):

Well, I think that that is the movie more than any others. That seemed like it was the studio taking over, taking completely, taking control from her and having no ideas at all what to do.

Kota (01:30:57):

Yeah, I think the directing of that movie was really good. I thought the shots were really good in that movie. Of course. It’s just the script was just that. And it’s a story that nobody really wanted. I don’t need a team up with Captain Marvel, the Monaco Rambo and Miss Marvel and all that stuff. I didn’t need that. But I think the direction of it was cool. The villain was useless, but

Matt (01:31:21):

When it was people talking in a room together, it was fine. But that’s what you do as a Marvel director. But for me, this, now we’re talking about Captain Marvel. How did they still never figure out who Captain Marvel is? She’s not a character. Bree Larson has no idea. And I’m sure she would tell you, we have no idea who this character is. I don’t know how to play this character. Nobody’s ever told me who this character is. So she just kind of makes jokes, Hey, I’m here

Kota (01:31:48):

And has a really bad haircut. Every single one. Her haircut just got worse and worse. I swear every time she popped up on the screen, I’m like, what are we doing here? What are we doing?

Matt (01:31:58):

So I mean, yeah, I’m obviously going to see the sequel excited and I really, really, really enjoyed this movie. And I think my opinion has only gone up over the course of our conversation. So I think I’m going to go with four out of five stars. I think that the Alfie Williams, God bless him, does a really good job. It does make me not as interested in a movie. If a kid is the star and I don’t like the sequel setup, that just rubs me wrong, that I wish it had just ended with him leaving the baby and then going off to go find himself again. Decide, should I go to film school? Should I go to culinary school? I need to figure it out.

Kota (01:32:36):

I see. I don’t know, man. So I watched this movie three times now and I just rewatched it last night preparing for this. I feel like it got better every single time. There’s new stuff I would point out be like, oh shit, I didn’t know that. And then even doing this podcast, it went up even more also for me because us finding out the color palettes, why are they so focused on this red and what’s up with this death mask and what’s with this colony on the island? It’s bunch of mysteries that I would hope to be solved, but at the same time, some of it, I want to leave it up to the audience to solve it.

Matt (01:33:20):

I want to see what I want out of movies is just show me something I’ve never seen before. Let me have an experience. And this movie’s great, this movie’s extremely well made all throughout, but it has two extraordinary sequences that I’ve never expected to see anything like in a movie. And the Causeway Chase with the Aurora in the sky, and then with the funeral with Ray Fines. So those alone,

Kota (01:33:46):

I mean, you weren’t expecting to for a movie like this, from the past two movies to hit you in the heartstrings, I guess you could say, as it did. I know that that also rubbed some people that I’ve talked to that didn’t like this movie that rubbed them the wrong way. I wasn’t expecting to go in this movie and cry. I wasn’t expecting the ending. The last three minutes of that movie really threw me off and it just felt like a total different movie. And I’m like, that’s kind of the 0.1, the ending is setting up for the next one. You saw that ending. You sat there and was like, what the fuck kind of ending was that? It makes you kind of want to see the second one to see how it goes out. And then there’s those people that are like, I’m not even going to go see the second one.

Kota (01:34:31):

But it’s weird because when I saw this both times in theaters, the first time when me and my girlfriend went, it was a pretty packed theater. Everybody was quiet. And I remember people walking out. I didn’t hear one person going after the movie in to be like, man, that fucking sucks. And then I went and saw it the next week on a Tuesday and the theater was sold out. It was completely sold out. And again, didn’t hear anybody at the end of the movie being like, what the fuck was that? Or Man, that movie was dog shit, but it’s people online that I keep running into and being like, I don’t know what movie you watched, but this movie was horrendous. Hot pile of garbage. I was like, I don’t know what movie you watched, but maybe this movie just went over your head. But it’s

Matt (01:35:17):

Also, like I said, dumb. They’re dumb babies. It’s fine.

Kota (01:35:20):

And then again, people went into this movie expected 28 days later, and then they were like people bitching about the trailer. Oh, the Marketing Fool, dust. They made it seem like this movie was going to be action packed and Zombies everywhere and then running for their lives for the hour 45, almost two hour movie,

Matt (01:35:38):

28 days later. Isn’t that though, 28 days later is not, it’s mostly slow. That’s the point. And what would not be fun is running from zombies for two hours. That’s boring.

Kota (01:35:50):

Yeah. Yeah. I like that. They actually built a story revolve around this. And Danny stated years and years ago that, because people would ask him, why aren’t you make it 28 months later? What happened to 28 months later? Or the next sequel or whatever? And he is like, ah, I’m only going to make it if I can make sure that there’s a story to tell. And then Alex came up with a story, which you brought up COVID earlier. You did bring up COVID, how this kind of feels like a little bit of a COVID post COVID era, I guess you could say.

Kota (01:36:28):

And so I’m wondering if maybe COVID is, when COVID happened, he was like, you know what? That’s a perfect way to do 28 years later to do a sequel to 28 days later. But set it as everything’s evolved and people have evolved. Zombies have clearly evolved. Cities have such like that. So it is a movie that I feel more people should, when they watch it, just go in with the open mind, go in there not expecting the same old, same old, but just go in there expecting to just have a mixed emotions of a movie, if that makes sense. You’re happy, you’re sad, you’re scared, all of it. It’s a great movie.

Matt (01:37:17):

Yeah. It’s challenging you to feel sort of uncomfortable, to feel things that you can’t easily pin down and have characters so it’s not clear are they good, are they bad? Or they have to be all good? Are they all bad? Is this dad a bad dad or is he a good dad? Well, he is kind of both. Is this island a great place or is it evil? Who’s to say seems like it’s kind of both, but I think a version of 28 days later, it lingers in people’s minds and memories. That isn’t necessarily the movie that’s there. That movie also is dealing with death. It has Killian Murphy going to visit his parents’ house. That great moment where he finds their note that they left for him. It’s like that’s all there. And this is all stuff. This movie is also exploring. And listen, you can go watch some fucking resident evil movies or something. There’s plenty of action zombie movies. I got no time for you to get dumb babies Go to therapy. That’s all I have to say about that.