Danny Boyle and Alex Garland’s long-awaited third chapter of their zombie-horror cinematic rush, 28 Years Later, finally made its debut in 2025, and it was a jolt of mania to the senses of film fans with its intensity and sheer barking madness. In a cinematic landscape where formula reigns supreme, 28 Years Later was a wild, punk rock watch, and now director Nia DeCosta is ready to take the franchise to an even stranger place with its follow-up chapter 28 Years Later: The Bone Temple.

Watch the all-new trailer for 28 Years Later: The Bone Temple:

Here’s the official synopsis:

n a continuation of the epic story, Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship – with consequences that could change the world as they know it – and Spike’s (Alfie Williams) encounter with Jimmy Crystal (Jack O’Connell) becomes a nightmare he can’t escape. In the world of THE BONE TEMPLE, the infected are no longer the greatest threat to survival – the inhumanity of the survivors can be stranger and more terrifying.

Picking up immediately following the savage events of 28 Years Later, The Bone Temple will follow Alfie WIlliam’s Spike as he comes into the influence of twisted cult leader Sir Jimmy Crystal (Jack O’Connell), a deplorable, vindictive sadist cloaked in the image of the infamous and reviled Jimmy Saville, who has his own manic fifedom to rule over and who has his own deadly plans for this untamed, barren Britain.

This first teaser trailer gives audiences a taste of the madness that is to come, and it’s utterly wild in what is presented. Audiences will sit up and take notice! Ralph Fiennes also returns as the sympathetic, but crazed Dr Ian Kelson, who stumbles into Jimmy’s crazed plan, and it’s about to get even crazier.

Boyle, Garland and DeCosta are ready to step things up a notch when it comes to the lore and landscape of 28 Years Later, and this film looks like it will really smack audiences in the face.

Brace yourself for things to get mental when 28 Years Later: The Bone Temple arrives in cinemas on January 15, 2026.

Image: Sony Pictures

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Warfare embeds audiences with a platoon of American Navy SEALs on a surveillance mission gone wrong in insurgent territory. A visceral, boots-on-the-ground story of modern warfare and brotherhood, told like never before: in real time and based on the memory of the people who lived it.

Clocking in at a tightly wound 95 minutes and based entirely on Mendoza’s firsthand memories of a harrowing November 2006 mission during the Battle of Ramadi, Warfare is not your typical war movie. It’s a real-time descent into chaos and carnage, captured with such pinpoint authenticity that you’ll forget you’re watching fiction. This is combat cinema stripped down to muscle, blood, and nerve endings.

The premise is razor-sharp: a group of young Navy SEALs are tasked with sniper overwatch during one of the bloodiest phases of the Iraq War. But what begins as a routine operation spirals into an all-out siege, as a surge of insurgent forces overruns their position. With one of their own critically injured by a brutal IED attack, the unit must fight tooth and nail for survival while desperately trying to extract before it’s too late. The stakes couldn’t be higher, the tension couldn’t be thicker, and the action doesn’t let up for a second.

Mendoza and Garland’s decision to tell this story in real-time is a masterstroke. From the very first frame, the clock is ticking, and the weight of inevitability hangs over every moment. The calm before the storm is almost unbearable, and when the firefight ignites, the film explodes into full-tilt chaos. Bullets scream, RPGs crash, and the audience is plunged into a sonic and visual nightmare that never feels choreographed—it feels lived-in.

The camera rarely strays far from D’Pharaoh Woon-A-Tai’s Ray, the platoon’s radio man and the emotional heart of the story. His performance is a marvel of restraint and vulnerability, capturing the psychological cost of combat even as he follows protocol and keeps communication flowing. Woon-A-Tai doesn’t just act the part: he embodies it, grounding the entire film in lived emotional truth. Through his eyes, we witness the horror, the confusion, the courage, and the trauma of war in its most unvarnished form.

Backing him is an ensemble that absolutely brings it. Will Poulter’s stoic Erik, the commanding officer, delivers quiet authority that begins to crack under pressure. Charles Melton’s Jake is a revelation; brave, brash, and utterly fearless as he charges into the breach. Kit Connor’s Tommy, the fresh recruit, has his mettle tested in the worst possible way, and his transformation is gut-wrenching to behold. Taylor John Smith’s Frank provides the calm eye in the storm, a sniper with nerves of steel, while Joseph Quinn’s Sam is all intensity, bravado, and raw emotion. But it’s Cosmo Jarvis as SEAL sniper and Corpsman Elliott Miller who devastates. After suffering a horrendous IED attack, Miller becomes the film’s focal poin, not just as a wounded warrior, but as the soul Mendoza seeks to honor. Jarvis’ performance is painfully human, capturing both the physical agony and quiet heroism of a man doing everything to make it out alive on his brothers’ watch.

The technical aspects of Warfare are nothing short of masterful. Cinematographer David J. Thompson shoots with immersive fluidity, often going handheld to mimic the disorientation of battle. The sound design is where Warfare truly becomes transcendent. Rifle cracks echo like thunderclaps, radios hiss with desperation, and the ‘show of force’ airstrikes rumble through your bones. It’s a sonic assault that doesn’t just make you hear the battle—you feel it in your chest.

Garland’s DNA is all over the film’s aesthetic and structure—there’s a razor-sharp focus, an existential edge, and a deep respect for silence amid the chaos. But it’s Mendoza’s soul that powers this engine. This isn’t a Hollywoodified version of war. There are no slow-mo hero shots or orchestral swells here. This is grit, blood, bone, and brotherhood; raw and unfiltered. Mendoza isn’t trying to glorify the violence; he’s forcing us to witness it. He’s saying: “This is what happened. This is what we endured. This is what it cost.”

And it’s that sense of truth that makes Warfare such a gut punch. Every second feels earned. Every bullet feels real. Every sacrifice hits hard. What truly elevates Warfare, however, is its respect for the veteran community. This is their story. Their pain. Their endurance. Their brotherhood. Mendoza didn’t just make this for the screen; he made this for the men he served with, especially Elliott Miller. And that authenticity radiates through every frame. This is a story of valor without glamor, of chaos without clarity, of heroism without reward. It is, in every sense, a war film for the real world.

Warfare isn’t just one of the best war films of the decade; it’s one of the best films of the year. Period. It’s harrowing, unrelenting, and searingly authentic. Mendoza and Garland have created something rare: a war film that isn’t about victory or defeat, but about endurance, sacrifice, and truth. When the dust settles and the credits roll, you won’t be clapping. You’ll be sitting in stunned silence: shaken, haunted, and grateful for the story shared.

Image: A24

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In a dystopian future America, a team of military-embedded journalists (Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson) races against time to reach Washington, D.C., before rebel factions descend upon the White House.

Alex Garland has built a career with a singular creative voice that has seen him traverse the mediums of print, video games, television and film, and he’s become known as a filmmaker who has the ability to think outside of the box and deliver a cinematic experience that truly confronts an audience. With Civil War, Garland takes the idea of a second American Civil War and delivers audiences right into the breach, playing around with an equal mix of emotion and suspense, and the result hammers you back into your seat. He takes the narrative of a road movie and applies it to an almost contemporary science-fiction experience as audiences race alongside a ragtag group of war journalists led by the enigmatic yet burnt-out veteran Lee Smith (Kirsten Dunst). Civil War is an experience that doesn’t let up for its 109 minutes of screen time.

Since the beginning of his career, Garland has brought a uniquely punk-rock energy to his work, and Civil War is all punk. With its almost documentary-like focus, an emphasis on hand-held footage and the presence of a gritty in-your-face shooting style courtesy of cinematographer Rob Hardy, which mimics real-world war photography and videography, and the growing influence of social media capture, the audience is right in it at ground level. Garland plays with contrasts and perspectives and presents the narrative very much from the perspective of the war photographer and the emotional scares that hit those who witness the raw edge of human savagery. Further mixed into it is a unique ‘family drama’ courtesy of the four main protagonists (Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson), and the emotions run high with this picture.

Leading Civil War is Kirsten Dunst as Lee Smith, an erratic and completely burnt-out conflict photographer who, witnessing America’s collapse, is, well, just another day at the office. What we see in Dunst’s performance is that she is an actress who is ready to push the limit with her craft, and she wants to take a risk with something different from anything she’s done. Well, Civil War fits the ticket, and she’s right in the middle of the onslaught of bullets, explosives and human insanity that lies at the heart of Civil War. Counteracting Dunst’s Lee is Cailee Spaeny as Jessie, a young aspiring war photographer who idolises Dunst’s Lee and who gets a hell of a wake-up call, and she’s damn impressive in the role. Wagner Moura is a straight-up maverick as journalist Joel, who is desperate for a prized scoop, while Stephen McKinley Henderson is the sage-like Sammy, a veteran journalist who tags along but who knows that things won’t end well.

Civil War is a sensory and evocative watch, and it captures the long quiet and sudden terror that conflict brings to all it touches. Image and sound blend together for Civil War, and Garland shows that he is a serious hand when it comes to handling suspense, and he inspires a deep sense of dread in his audience. Many tense moments are waiting in Civil War, and plenty of horrors are on show as the most modern culture begins to fall apart. A standout moment can be attributed to Jesse Plemons’s cameo appearance as a psychopathic ultranationalist militiaman. Your heart will be palpitating with adrenaline through these ten minutes of abject terror.

For the total experience of Civil War, the IMAX experience is preferable, and damn does Garland and A24 deliver on the BOOM. This is a HUGE and LOUD film, and the final act is an explosive experience of Full Metal Jacket automatic fire. In the presence of the IMAX experience, you’ll be holding on for dear life in this incendiary moment, and by the end, you’ll be absolutely spent.

Civil War is not the film we had expected, and it delivers on the adrenaline and the rush of its cinematic punk science fiction experience. This is a piece of cinema for audiences who like their movies wild, and you won’t be disappointed.

Image: Roadshow Films

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