In 28 Days Later, the walking dead don’t lumber; they sprint. But when the film hit theaters in 2002, that was just one of many surprises for audiences used to the slow, mindless zombies originated by George A. Romero’s Night of the Living Dead series. The director Danny Boyle’s postapocalyptic horror, written by his frequent collaborator Alex Garland, used low-resolution camcorders to capture the unsettling story of a man waking up to the end of society as he knew it. In the movie, humans have become victims of a “rage virus” epidemic, turning into vicious, bloodthirsty creatures within seconds—and survival means fleeing or fighting back. 28 Days Later soon inspired a wave of similar, undead-related movies, many of which copied its moves. Asked how he and Garland had revived the zombie flick so effectively, Boyle had a simple answer. “We took a genre,” he said in an interview in 2013, “and fucked with it.”
28天后，行尸走肉不木头。他们冲刺。但是，当这部电影在2002年上映时，这只是习惯于乔治·A·罗梅罗（George A.导演丹尼·博伊尔（Danny Boyle）经常合作者亚历克斯·加兰（Alex Garland）撰写的丹尼·博伊尔（Danny Boyle）的昆虫恐怖片使用低分辨率的摄像头捕捉到一个人所知道的一个人醒来到社会末尾的令人不安的故事。在电影中，人类已成为“愤怒病毒”流行病的受害者，在几秒钟内变成了恶性，嗜血的生物，生存意味着逃离或反击。28天后，很快启发了一波类似的不死相关的电影，其中许多电影复制了动作。当被问及他和加兰（Garland）如何有效地复兴了僵尸轻弹时，博伊尔（Boyle）有一个简单的答案。他在2013年的一次采访中说：“我们采用了一种流派。”
Boyle and Garland, returning after different filmmakers handled the sequel 28 Weeks Later, have only “fucked with” the genre further in the long-anticipated follow-up, 28 Years Later. Even fans of the franchise should brace themselves: This time around, the zombies—called “infected”—are more developed, the human characters odder, and the plot so dense that it’s both more high-minded and exceedingly ludicrous. The film is another attempt to reinvent the zombie-movie-genre wheel wholesale, and the result is both audacious and bound to be divisive. Before the movie began, I worried whether Boyle and Garland would be able to top themselves more than two decades after 28 Days Later; by the time it ended, I was laughing at just how fantastical and wild their efforts were.
博伊尔（Boyle）和加兰（Garland）在28周后返回后，在不同的电影制片人处理了续集后，在28年后的长期期望的后续行动中仅“搞砸”了这种类型。即使是特许经营的粉丝也应该振作起来：这次，僵尸（被“感染”的僵尸）更加发达，人物角色odder和情节如此茂密，以至于既高又高，而且更加可笑。这部电影是重新发明僵尸运动型轮子批发的另一种尝试，结果既大胆又一定是分裂的。在电影开始之前，我担心Boyle和Garland是否能够在28天后超过二十年来最高。到它结束的时候，我笑着他们的努力是多么奇妙和疯狂。
Set somewhere off the coast of England, where the infected have been kept at bay by a heavily defended gate, 28 Years Later follows a 12-year-old boy named Spike (played by Alfie Williams). Spike has never known society before the rage virus left the United Kingdom quarantined from the rest of the world. He belongs to a tight-knit community of survivors, including his parents: His mother, Isla (Jodie Comer), is suffering from a mystery illness, and his father, Jamie (Aaron Taylor-Johnson), is eager for Spike to grow up and hunt the infected alongside him. The film opens with Jamie taking Spike to the mainland so that he can make his first kill—a rite of passage for the island’s boys. There, Spike learns of Ian Kelson (Ralph Fiennes), a former doctor who has established a camp by himself in the middle of the woods. Although Jamie warns his son of Kelson’s strangeness—he builds towers of skulls, for one thing—Spike believes that Kelson can cure whatever’s ailing Isla.
在英格兰海岸的某个地方，被感染的门被一个严重的防守门守住了，28年后，一个名叫Spike的12岁男孩（由Alfie Williams饰演）。在愤怒的病毒离开英国从世界其他地区隔离之前，斯派克从未知道社会。他属于一个紧密的幸存者社区，包括他的父母：他的母亲Isla（Jodie Comer）患有神秘疾病，他的父亲Jamie（Aaron Taylor-Johnson）渴望Spike长大并与受感染者一起狩猎。这部电影的开头是杰米（Jamie）将斯派克（Spike）带到大陆，以便他可以第一次杀人，这是该岛男孩的通行仪式。在那里，斯派克得知伊恩·凯尔森（Ralph Fiennes）是前医生，他在树林中间自己建立了一个营地。尽管杰米（Jamie）警告他的儿子凯尔森（Kelson）的陌生感（他构建了头骨塔，一方面 - 斯皮克（Spike）相信凯尔森（Kelson）可以治愈任何生病的伊斯兰（Isla）。
Read: The tragic, forgotten history of zombies
阅读：悲剧，被遗忘的僵尸历史
To further describe what ensues would be to risk spoiling the delight. Yes, delight: It’s thrilling to watch a new entry in a horror franchise veer completely off the rails of its chosen genre. Spike starts his journey facing off against the kinds of infected not seen in the previous 28 movies; nearly three decades of mutations have yielded fresh, stomach-churning horrors. But his trek gets weirder, and more wondrous, as it goes along. In one scene, as Spike and Jamie flee the infected, the night sky appears to swallow them whole. Several characters Spike encounters seem to have wandered out of entirely different films. Much of 28 Years Later brings to mind details from other works—there’s a shady character akin to one from Station Eleven; a bloated variant of infected recalls the monsters in the anime Attack on Titan; and the circumstances of Spike’s island echo those of The Village—yet the movie feels singular. Like the bony sculptures Kelson has assembled, the film is abstract and unwieldy; at the same time, it’s impossible to look away from.
进一步描述随之而来的是冒着破坏喜悦的风险。是的，Delever：令人兴奋的是，观看恐怖特许经营权的新作品完全脱离了所选类型的轨道。Spike开始了他的旅程，以与前28部电影中未观察到的那种感染者面对面；将近三十年的突变产生了新鲜的，胃的恐怖。但是，随着它的发展，他的跋涉变得更奇怪，更奇妙。在一个场景中，当Spike和Jamie逃离感染者时，夜空似乎吞噬了它们。几个角色的尖峰遇到似乎已经从完全不同的电影中徘徊。28年后的大部分时间都从其他作品中引起了人们的注意 - 有一个类似于第11台的角色。被感染的肿变变种让人回想起动漫对泰坦的攻击中的怪物。Spike's Island的环境与村庄的情况相呼应，而电影的感觉很单一。就像凯尔森（Kelson）组装的骨雕塑一样，这部电影是抽象而笨拙的。同时，不可能移开视线。
That’s in part because Boyle has once again applied a captivating digital aesthetic. Shot mostly on iPhones using a horseshoe-shaped rig, 28 Years Later evokes a fever dream crossed with an immersive video game: Tilted angles and extreme close-ups dominate scenes, as do jarring cuts and freeze-frames that lead to spectacular kill shots. Again and again, blood splatters onto the camera lens, producing gleefully gory images. It’s grimy, sometimes even ugly filmmaking, but it’s effectively disorienting.
这部分是因为博伊尔再次应用了迷人的数字美学。28年后，主要是使用马蹄形钻机在iPhone上拍摄的，唤起了一个发烧的梦，与身临其境的视频游戏交叉：倾斜角度和极端特写镜头占主导地位，Jarring Cuts和Freeze-Frames也会导致壮观的杀戮照片。一次又一次地，血液溅到相机镜头上，产生Glee的血腥图像。这是肮脏的，有时甚至是丑陋的电影制作，但有效地迷失了方向。
What’s most striking about 28 Years Later, though, is how it manages to hold together its freewheeling plot and tonal shifts. The film grounds its story in Spike’s desire to save his mother at any cost—including, perhaps, his own sanity in a world hostile to innocence and tenderness. 28 Years Later punctuates the end of its first act, as it did in its excellent trailer, with a chilling 1915 recording of Rudyard Kipling’s poem “Boots,” its verses about a soldier succumbing to lunacy soundtracking a montage of warfare. Spike’s journey becomes unnerving because his reality is collapsing before his eyes. By the time Kelson and Spike meet, Fiennes appearing to be caked in burnt-orange makeup (Kelson has covered himself in iodine), I’d begun to wonder if I’d gone mad myself.
不过，大约28年后，最引人注目的是它如何设法将其自由的情节和音调转变融合在一起。这部电影以斯皮克（Spike）渴望拯救母亲的愿望以毫无代价的故事为基础，包括他自己的理智，在一个对纯真和温柔的世界中。28年后，它的第一幕结束了，就像它在出色的预告片中所做的那样，1915年唱片鲁德亚德·吉卜林（Rudyard Kipling）的诗《靴子》（Boots）录制了令人震惊的唱片，它的诗句是关于士兵屈服于疯子配乐的经文。Spike的旅程变得令人不安，因为他的现实在他眼前崩溃了。到凯尔森（Kelson）和斯派克（Spike）见面时，菲恩斯（Fiennes）似乎被橙色化妆（凯尔森（Kelson）用碘遮住了），我开始怀疑我是否生气了。
I’m not sure if every one of the disparate beats and twists work in tandem; some images, such as that of the English flag in flames, are annoyingly on the nose. Isla is underwritten, even if Comer gives the character her all; lines such as “the magic of the placenta” are laughable in their earnestness. But I haven’t seen any comparable franchise go through a transformation such as this one. Boyle and Garland have taken a bold swing at material they created while maintaining the core appeal of the series. 28 Years Later grasps that its two predecessors have endured not only because of the intrigue conjured by fast-moving zombies and a found-footage look but also because they probe how isolation reshapes the human mind. Here, Spike is an avatar for the arrested development of an entire culture. He has no idea what the mainland looks like, what modern life entails, and what it feels like to be consumed by fear of something other than the infected—including the possibility that he can’t stop his mother’s suffering.
我不确定每个不同的节拍和曲折是否同时起作用；一些图像，例如火焰中的英式旗帜，鼻子上令人讨厌。即使Comer全力以赴，Isla也是承销的。诸如“胎盘的魔力”之类的线条可笑。但是我还没有看到任何可比的特许经营经历这样的转型。博伊尔（Boyle）和加兰（Garland）在维持该系列的核心吸引力的同时，对他们创造的材料进行了大胆的摇摆。28年后，它的两个前任不仅是因为快速移动的僵尸和发现的脚部外观引起了人们的兴趣，还因为他们探测了孤立性如何重塑人类的思想。在这里，Spike是整个文化的逮捕发展的化身。他不知道大陆的外观，现代生活需要什么，以及由于害怕被感染的东西而被消耗的感觉，包括他无法阻止母亲的痛苦。
Read: Apocalypse, constantly
阅读：启示录不断
The opening shot of 28 Years Later shows a group of humanoid creatures wandering a landscape; above it, instead of a sun, looms a smiling baby. It’s a scene from Teletubbies, perhaps the most unnerving children’s television show there ever was, and it’s the perfect amuse-bouche for what the rest of the film brings. Although 28 Years Later doesn’t star any toddlerlike aliens with touch-screen tummies, the movie is just as baffling, disturbing, and profoundly absorbing in its idiosyncracy. It ends on a cliffhanger, but I barely cared; the already filmed sequel set to be released in January will likely resolve it, and the final scene makes clear what Boyle and Garland have done: With 28 Days Later, they messed with a genre. With 28 Years Later, they’re messing with us.
28年后的开场镜头显示，一群人类生物在徘徊。在它上方，而不是阳光，隐约可见一个微笑的婴儿。这是Teletubbies的场景，也许是有史以来最令人不安的儿童电视节目，这是电影所带来的完美乐趣。尽管28年后没有带着触摸屏的肚子饰演任何类似蹒跚学步的外星人，但这部电影的特质既令人困惑，令人不安和深刻的吸收。它以悬崖峭壁结尾，但我几乎不在乎。将于1月份发行的已经拍摄的续集可能会解决它，最后一幕清楚地表明了Boyle和Garland所做的事情：28天后，他们弄乱了一种类型。28年后，他们与我们搞砸了。
