By The Riff Report Blog – “YESS MUN, what the hell did we just watch?” edition

Well, well, well… here we are. Nearly three decades after 28 Days Later infected our screens with rage-fuelled brilliance, and about 20 years too late for anyone to ask for a sequel, 28 Years Later lurches onto the screen like a hungover extra from The Walking Dead… and promptly faceplants into a flaming skip. 🔥🧟‍♂️💩

🧟 “Let’s do another sequel!” – said no one, ever.

Let’s get this straight: 28 Days Later was a stone-cold classic. 28 Weeks Later had its moments (Robert Carlyle legging it like he’s late for last orders? Iconic). But this? This feels like a straight-to-streaming fever dream that got greenlit by accident when someone sat on a keyboard.

The rage virus is back, apparently. So is London, looking like a Poundland version of its former apocalyptic self. And so are… characters? Maybe? There’s a bloke called Josh who looks like he wandered in from a perfume ad, and a moody teenager named Skye who somehow knows parkour, hacking, and emotional manipulation all at once. Neat trick, that.

💸 The Budget Clearly Got Infected Too

The CGI? Diabolical. The zombies? More like grumpy joggers in smeared eyeliner. And don’t get us started on the shaky cam – we get it, it’s “gritty”… but if we wanted to feel dizzy, we’d go spin in a circle after 5 pints of Doom Bar.

They spent more on fake blood than they did on the script. The dialogue sounds like it was written by a GCSE drama class on Monster energy drinks.

“You can’t outrun rage!” – actual line. Actual. Line.

🎼 The Soundtrack Slaps… But Only Because It Was Nicked

They tried to recapture the glory of John Murphy’s iconic “In the House – In a Heartbeat,” but instead we got synth loops that sound like someone sat on a Casio keyboard in a panic. There’s a weird TikTok-core remix halfway through the third act that nearly made us walk out. Only reason we didn’t? We were watching it on the sofa with a kebab. 🍢

🔥 Plot Holes So Big You Could Drive the Tour Bus Through Them

Here’s a handy list of things that make no sense:

  • Why is the government back but only using walkie-talkies?
  • Why does the main character survive a zombie bite because of “antibodies from a mysterious bloodline”?
  • Why is there a subplot about a zombie influencer?! Are we having a laugh?

And the ending? Oh boy. Without spoiling too much: a child shoots a rocket launcher at a cruise ship and then whispers, “This is just the beginning.”
WE BLOODY HOPE NOT.

💀 The Acting? Mate…

We’ve seen more convincing emotion in a Greggs queue. The cast tries, bless ’em, but you can’t polish a turd – and this script is straight out of the loo at Download after day 3. One bloke is so wooden, you could carve him into a totem pole.

The one semi-decent performance comes from an elderly nurse who gets ten minutes of screen time and delivers the best line of the film:

“You’re all morons. We’re doomed.”
Tidy.

🏴 Welcome to a New Riff Report Category: MOVIE THAT SUCK 🤘

28 Years Later is officially our first inductee into the Movie That Suck 🤘 Hall of Infamy.

What qualifies a film for this elite dishonour?

  • Disrespecting the legacy of the originals ✅
  • Phoning in the plot with zero signal ✅
  • Turning genuine horror into unintentional comedy ✅
  • Making us yell, “OH DO ONE MATE” at the telly ✅✅✅

Congratulations. It’s that bad.


🤮 Final Thoughts: Rage? More like Regret

We had such high hopes, mun. We wanted chills, carnage, and clever commentary. Instead, we got zombies doing TikTok dances and a third act so dumb it made us question reality.

If 28 Days Later was a feral beast tearing through the streets of Britain, 28 Years Later is a confused pigeon stuck in a Tesco.

🎬 Rating: 1/10 – One limp pint glass hurled at the screen in rage.
🚽 Flush-worthy.
🤘 Instant classic… in the wrong way.


💬 Have YOU suffered through 28 Years Later?

Drop your rants, memes and trauma below 👇
Or send your condolences to Danny Boyle, who must be absolutely tamping right now 😤


Want us to review more tragic cinema like this? Welcome to the madhouse that is:

🎬 Movie That Suck 🤘 – The Riff Report’s New Category for Disasters on Film

Stay tuned, but bring a bucket. 🪣🎥

⭐️ Riff Report Rating: ★☆☆☆☆ (1 out of 5) – and that one star is purely out of pity for the poor extra who got splattered in the first five minutes.

Star Breakdown:

  • Story: 0.5⭐ – Lifted from the back of a cereal box.
  • Acting: 1⭐ – For the nurse who roasted everyone and dipped.
  • Effects: 0.5⭐ – Early-2000s SyFy Channel called. They want their VFX budget back.
  • Soundtrack: 1⭐ – Only because we like Casio keyboards.
  • Rage Virus Energy: 0⭐ – We were more enraged than the zombies.
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Michael is the founder, editor, and chief riff wrangler behind The Riff Report, an independent Welsh rock and metal publication built by fans, for fans. With a lifelong passion for loud guitars, unforgettable live shows, and the incredible community that surrounds rock and metal, he created The Riff Report to celebrate everything that makes the scene special—from legendary headline acts and grassroots venues to rising bands that deserve to be heard. A familiar face at festivals across the UK, Michael spends much of the year covering events including Download Festival, Bloodstock Open Air, Steelhouse Festival, Firevolt, Plumpton Revival, and many more. Whether he’s battling the Welsh weather on a mountainside, surviving a weekend in a muddy campsite, or squeezed against the front barrier with thousands of fellow fans, he’s always searching for the next great story to share. As editor of The Riff Report, Michael writes festival guides, breaking news, album reviews, gig reviews, interviews, opinion pieces, nostalgia features, and behind-the-scenes stories from across the rock and metal world. His writing combines honest opinions, humour, and a genuine love for live music, bringing readers closer to the bands, festivals, venues, and people that keep the scene alive. Michael is particularly passionate about supporting independent artists, local venues, charities, and the wider UK rock and metal community. He believes every band deserves a chance to be discovered and every festival has a story worth telling. Through The Riff Report, he aims to shine a spotlight on both the biggest names in rock and the future stars waiting to break through. When he’s not writing or interviewing artists, you’ll probably find him exploring festival campsites, photographing live shows, chatting with fellow fans over a pint, or planning the next road trip in search of more riffs, bigger crowds, and unforgettable moments. Above all, Michael believes rock and metal are about more than music—they’re about community, friendship, and creating memories that last a lifetime. That’s exactly what The Riff Report exists to celebrate. Proudly Welsh. Proudly Loud. Always chasing the next great riff. 🤘