Jakarta. “28 Years Later”, the third installment to the post-apocalyptic franchise, has hit Indonesian theaters with a movie that combines zombie apocalypse and breathtaking nature shots that remind you of tourism commercials.

Director Danny Boyle once again collaborated with screenwriter Alex Garland on this film. For almost two hours, the audience will follow a group of rage virus survivors with young boy Spike (Alfie Williams) at the center. Spike is only 12 years old, and is the son of the scavenger Jamie (Aaron Taylor-Johnson) and cancer-infected mother Isla (Jodie Comer). “28 Years Later” started out with Jamie teaching his son how to fight the infected with bow and arrows. After witnessing his father cheating on his mom, Spike takes the ailing Isla to the mainland to find Dr. Ian Kelson (Ralph Fiennes).

One thing that stands out in "28 Years Later" is its dreamlike aesthetics. In the first half of the film, you will see the father-and-son duo running away from what seems to be the superior version of the infected beneath the aurora borealis. This part will keep you on the edge of your seat, worried that the zombie might catch up to them. But at the same time, you will marvel at the northern lights and wonder if you will ever see them with your own eyes. There is also tons of aerial footage for a better look of the island, not to mention scenes of the infected rushing through the flower fields and green forests. Amidst all the panoramic settings, the action remains fast-paced and comes packed with quick cuts and kinetic camera movements.

Garland’s script tries to add some humor with Spike’s interactions with the stranded Swedish NATO soldier Erik (Edvin Ryding). Spike has spent his entire life on a remote island and is clueless about the latest technologies, unlike kids his age. The movie blends family drama with the sick mom and cheating father narrative. Just like the trailer, “28 Years Later” features the 1915 reading of Rudyard Kipling's eerie poem “Boots” to add tension to the fast-paced horror. The poem’s repetitive structure is enough as a nightmare fuel.

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