28 Years Later reunites Alex Garland and Danny Boyle, and it’s everything you could hope for from this genius writing and directing duo.

It’s been more than two decades since we saw Cillian Murphy wandering around an abandoned London in the opening scene of 2002's 28 Days Later, and the impact of that movie on the post-apocalyptic horror genre can still be seen to this day.

At the time, that movie stood out for its pioneering take on the horror staple that is the zombie, imbuing the 'infected' with an especially terrifying trait: they were able to run. Before this, films like Dawn of the Dead had portrayed zombies as slow-moving, imbecilic creatures, which made the idea of sprinting monsters even more petrifying.

The first sequel, 2007's 28 Weeks Later, wasn't made by the original filmmakers and is not now regarded as canonical, so does not factor into the plot of the new movie 28 Years Later. Instead of the infected reaching Europe, as we saw at the end of 28 Weeks Later, in this telling the 'rage' virus, which escaped from an animal testing lab, has been contained by quarantining Britain from the rest of the world.

28 Years Later has a more folk-horror feel compared to the original, centering on a community of survivors who've made a home for themselves on Lindisfarne, an island separated from the coast of northern England, and from the infected, by a gated causeway.

It's here where we meet Alfie Williams' (His Dark Materials) character Spike, a young boy who's about to make what seems to be a rite of passage to manhood by accompanying his father Jamie, played by Aaron Taylor-Jonson (Kick-Ass), to the mainland for his first kill, the quarry being the infected.

Before they leave, the pair are reminded that the rules of their society mean they won't be rescued if they don't return. This adds a foreboding note to their journey, setting us up for our first encounter with the now-evolved infected, which have morphed into new variants that feel inspired by The Last Of Us.

The new infected include fat, crawling bloaters, pack-like families that can still sprint, and ripped 'alphas' that have evolved to be much smarter and bigger than the rest – and these new leaders aren't as easy to kill, even if Spike, like his father, is already a skilled archer.

The movie soon shifts from a father and son's fight for survival to an equally fraught mission. When Spike sees a opportunity to save his sick mother Isla, who's played by the incredible Jodie Comer (Killing Eve), mother and son set off in search of a reclusive doctor who's rumored to live on the mainland.

Queue perhaps of the best performance of the movie, as we meet Ralph Fiennes' (Schindler's List; The Grand Budapest Hotel) Dr Kelson, surrounded by skulls and bones in one of the most elaborate graveyard shrines I've ever seen. The introduction of Fiennes' multi-layered character marks a turning point for the film, setting up events that will likely play a central role in the next film – 28 Years Later: The Bone Temple – that's set to be released in January 2026.

In a lot of ways 28 Years Later is a coming-of-age story that grapples with themes of loss, grief, and survival, making it a lot different to the societal breakdown that was the focus of 28 Days Later. The themes running through both films, though, are underpinned by Garland's unsparing exploration of what makes us human.

Despite the time between the two films, 28 Years Later pays homage to the original by including the same lingering wide shots, and by featuring the iconic and unsettling track In the House – In a Heartbeat by John Murphy, while also setting the scene for the next chapter.

The opening scene of 28 Years Later, which shows a group of children watching Teletubbies before they have to flee an attack by the infected, may seem disconnected from the rest of the film, but it all makes sense when Spike unknowingly encounters Jack O'Connell's (Eden Lake) character, who wears the same cross we saw one of the children being given, in the closing scene.

This sets up the film series to go forward on a much more larger scale, as it introduces us to different strands of survivors that will no doubt be a big part of the next two movies. As the first of this new trilogy, 28 Years Later is a captivating watch with multi-layered filmmaking, phenomenal performances, and a story that hits closer to home than it might, initially appear.

28 Years Later is available to watch in cinemas around the world from June 19. We don't yet know which of the best streaming services it will be added to, or when.

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Ballerina is a real litmus-test moment for the John Wick universe.

The Continental, the franchise's first TV project, was a risky prequel series that lacked Keanu Reeves' star power and, by proxy, indicated that Lionsgate's billion dollar-spinning enterprise couldn't flourish without Reeves' iconic hitman being front and center in its various productions.

Ballerina appears to suggest otherwise. The fifth film in the series – and the first that doesn't feature Reeves as its lead – is a typically thrilling franchise entry that shows 'The World of Wick' could have a bright future without Reeves at the helm. Well, that is as long as future Wick-Verse movies and shows don't fall into the same hackneyed traps that Ballerina occasionally does.

When you think of me, you should think of fire

Set between John Wick Chapter 3: Parabellum and John Wick Chapter 4 (learn more about the franchise's timeline in my guide on how to watch the John Wick movies in order), Ballerina stars Ana de Armas as Eve Macarro.

The child of an assassin who was gunned down for apparently betraying the criminal organization he was a member of, the orphaned Eve is taken in by the Ruska Roma, the crime syndicate that also raised and trained Wick.

Years later, the now-adult Eve carries out covert missions for the Ruska Roma. However, when she realizes her latest target has ties to the enigmatic gang that murdered her father, Eve ignores the orders of her surrogate family's matriarch in The Director (Angelica Huston) to let things lie. Cue Eve going rogue as she embarks on a one-woman quest to track down her father's killers and seek vengeance.

With its classic tale-of-revenge format, it's easy to draw comparisons between Ballerina – or, to type out its full title, From the World of John Wick: Ballerina – and the first John Wick movie.

Sure, there are subtle differences between their plots. 2014's John Wick sees Reeves' retired hitman punish those who stole his beloved Mustang and killed the puppy that his deceased wife posthumously gifted Wick to help him through the process of grieving her loss.

Here, Eve seeks retribution for her dad's murder, and in the process she unearths some big secrets about her past that, as plot twists go, are so derivative I spotted them from the get-go. Those narrative distinctions aside, though, the basic plot structure and themes explored in both films are the same, which is why parallels will inevitably be drawn between them.

That said, the narrative disparity between this duo is felt most keenly in how Ballerina sets up its tale. Act one is an origin story in all but name, with the film's first 45 minutes establishing Eve's backstory and events that led to her joining the Ruska Roma before transitioning to the modern day. In that sense, Ballerina's opening act isn't unlike that of Furiosa: A Mad Max Saga, whose five-act plot plays out in a similar manner.

Interesting as it to witness Eve's transition from traumatized child to skilled assassin, Ballerina's first act feels drawn out. For a movie that clocks in at two hours, the fact that it takes 45 minutes to get to the meat of the story is a disproportionate amount of time to spend on narrative set-up. Sure, it's fun to see Eve's competency in the field improve – she makes plenty of mistakes along the way, mind you – as the first act progresses, but Ballerina could've reached its critical storytelling juncture far earlier than it does.

Enemy of my enemy

Once its actual story gets going, Ballerina becomes an exercise in hasty plot exposition and world-building, and typically breathless and violent action.

Where the former is concerned, Ballerina's intriguing expansion of the John Wick universe further proves that it's not just a world where assassin guilds are commonplace.

Previous Wick-Verse films have tentatively spotlighted other criminal gangs that inhabit this franchise. However, Ballerina, which shouldn't be called a John Wick spin-off, according to director Len Wiseman, confidently embellishes the seedy, complicated nature of this fictional world by revealing that the High Table isn't the sole establishment that governs the criminal underworld's various factions. Spoilers notwithstanding, I'm eager to see how future films and TV shows will expand on the splinter organizations introduced in this movie and establish others with their own mythos.

As for its physically demanding set-pieces, Ballerina's will draw "oohs" and the odd expletive-laden comment from audiences. Like John Wick, Eve is a quick-thinker who uses everyday items to gain the upper hand in combat and take out the foes she faces in her big-screen debut. The flamethrower-centric action sequence, which featured heavily in Ballerina's official trailer, is likely to be many viewers' most-loved set-piece in this film, but separate fights involving a stack of plates and a pair of ice skates were my particular favorites.

Entertained as I was by Ballerina's action, some moments felt a little amateurish. Indeed, there are a couple of set-pieces in act two where there's a notable delay between actors – or their stunt doubles – taking hits and reacting to said body blows, which temporarily pulled me out of the moment. They're not the worst situations I've seen in an action thriller flick, but they reduce the believability of the duels on show.

Rules and consequences

Those occasional moments may be missteps, but the manner in which Ballerina handles Wick's small but significant appearance isn't.

Fans have known that Reeves' legendary gun-for-hire would turn up since Ballerina's first trailer was released last September. Thankfully, his role in proceedings – I didn't time it, but I'd say Reeves' screentime is around 10 minutes – is not only a natural fit for the story Ballerina tells, but also ensures Reeves doesn't upstage de Armas in her own movie.

Don't worry, though, Wick fans, he gets his own incredibly satisfying action sequence – one that takes place after the suspense-filled confrontation he has with Eve –that'll satiate your desire to see him take names and kick ass.

The supplemental appearance from Reeves' beloved hitman aside, if I had to be hyper-critical of Ballerina, it doesn't do much with the rest of its starry ensemble.

Yes, Huston's The Director earns more screentime here than she has in prior John Wick films. Ian McShane's Winston and the late Lance Reddick's Charon earn their stripes in their respective minor and cameo roles, too. Given Ballerina's sharper focus on the Ruska Roma, plus Winston's active role in shaping Eve's life, though, I expected them to feature more than they did.

The same goes for Norman Reedus' Daniel, a mysterious individual with ties to those who killed Eve's father who, aside from inadvertently complicating Eve's quest for revenge, is criminally underused. Considering Ballerina's release was delayed so additional photography could take place to include scenes that were initially removed from the script, I'm baffled over the lack of airtime afforded to Reedus and some of his contemporaries.

My verdict

Ballerina is an entertaining, largely self-contained story whose typically high-octane nature will appease John Wick devotees and offers a soft narrative reset that makes it accessible to franchise newcomers. With de Armas' likable badass at the helm, it's an entry that could spawn its own film series within the wider John Wick universe, and it's one I certainly think is worth exploring.

That said, Lionsgate and Wick's chief creative team can't rely on the shock value of its violence, nor copy and paste its revenge tale formula into stories starring other characters, forever. Whether it's the very-early-in-development John Wick Chapter 5, the forthcoming flick starring Donnie Yen's Cain, or the franchise's anime-style TV show, fans will demand something far more creative or fresh in the future.

If Ballerina is popular and financially successful to warrant a sequel, and if said follow-up cracks the originality code, we could look back on this de Armas-fronted film as the one that proved the Wick-Verse is in safe hands without Reeves steering the ship. Fail to do so and, to paraphrase Marvel anti-hero Wade Wilson from Deadpool and Wolverine: "Lionsgate will make Reeves do this until he's 90!".

From the World of John Wick: Ballerina opens in theaters worldwide on Friday, June 6.

Light spoilers follow for Marvel's Thunderbolts* movie.

Thunderbolts* was always going to be viewed as the Marvel movie underdog of 2025.

In a year that saw the arrival of a new Captain America film and The Fantastic Four's highly anticipated addition to the Marvel Cinematic Universe (MCU), a movie starring a ragtag team of lesser-known anti-heroes and reformed villains might not have been high on many people's theatrical agenda.

Like the titular team, though, Thunderbolts* has battled against the odds to cement its place as one of the best Marvel movies since 2019's Avengers: Endgame. Armed with a supremely talented cast on top form, and the MCU's most affecting story to date when it comes to exploring themes of vulnerability – a story that struck a huge chord with me – it's also an emotionally resonant movie that encouraged me to reflect on my past, and not let it define me.

Shadow selves

Like The Avengers and Guardians of the Galaxy (GotG), Thunderbolts* tells the tale of a maladjusted group of individuals thrust together to battle a common enemy.

Boil the movie down to its simplest form, and comparisons to those two films are easy to make, in terms of both its storytelling structure and the archetypal characters who inhabit all three movies, such as John Walker/US Agent (Wyatt Russell) and Bucky Barnes/The Winter Soldier (Sebastian Stan) being the serious soldier stand-ins for The Avengers' Captain America and GotG's Drax.

The same can be said of Thunderbolts*' whip-smart humor. Like many of its MCU counterparts, Thunderbolts* is full of snarky retorts, quippy one-liners, and other wisecracks. However, rather than being throwaway jokes that do little else but raise a smile, its humor-laden moments are belly-achingly effective in their delivery and plot placement.

The on-screen rapport between the Thunderbolts – unlike in the comics, the unpopular team name isn't derived from Thaddus 'Thunderbolt' Ross – is equally electrifying. In fact, I'd wager the chemistry between Thunderbolts*' eclectic cast of characters is the most natural in an MCU film for a while.

That might be a bold statement to make, particularly in light of the absorbing dynamic between Ryan Reynolds and Hugh Jackman in Deadpool and Wolverine. As an ensemble, though, the playful and melodramatic manner with which this film's cast bounce off each other is a far cry from the camaraderie (or, rather, lack thereof) of other films' casts.

The team's 'found family' dynamic fizzes and pops with a pleasing poise that captivated me from the moment that many of them meet, too.

Indeed, a western stand-off-style showdown between Yelena Belova (Florence Pugh), US Agent, Ava Starr/Ghost (Hannah John-Kamen), and Antonia Dreykov/Taskmaster (Olga Kurylenko) in the first act, which occurs after each agent is sent to take down one of the others by shady CIA director Contessa Valentina Allegra de Fontaine (Julia Louis-Dreyfus), is as frenetic and wonderfully farcical as you might expect.

Of the dynamics on display, I was most emotionally invested in Yelena's relationships with Alexei and Bob.

The estranged familial dynamic between Yelena and Alexei is full of histrionics, hilarity, and heartfelt moments that underline, if further evidence was needed, Pugh's and Harbour's standing as two of the greatest actors of their generation. Emotionally engaging tour de forces, they most certainly are.

That said, the relationship between Yelena and Bob is the one that really captured my attention, because theirs is the earnest fulcrum that really drives the Marvel Phase 5 movie's emotionally-charged narrative. I'm not afraid to admit that their bond drew visceral reactions for me on two occasions – as I write this review, just thinking about one specific moment in the film's final act leaves me teary-eyed and with a lump in my throat.

Fight off your demons

The emotional intensity Thunderbolts* delivers narratively won't be lost on anyone who watches one of 2025's most anticipated new movies, either.

Indeed, where the Avengers assembled to protect New York City – and the wider world – from Loki and his Chitauri army, and the Guardians united to defeat Ronan the Accuser, this film's unruly cast of characters have a far tougher foe to overcome: themselves.

You see, while Thunderbolts* includes conventional antagonists in de Fontaine and someone you probably expected to be a good guy, it's the ensemble's darkest, most secret inner selves who are their greatest nemeses.

This isn't new territory for Marvel. As a medium, comic books are widely regarded for telling stories that reflect the world around them, so there's no reason why comic book/superhero films wouldn't do likewise.

That's reflected in the fact that the MCU has tackled such difficult subject matter before, too. However, where Iron Man 3 made light of and danced around Tony Stark's grapples with PTSD following The Avengers, Thunderbolts* is following Moon Knight's lead with its sensitive approach to mental health issues.

Whether it's Yelena's disillusionment with life itself, Bob's split-personality disorder, US Agent's deep shame, or the team's collective feelings of regret, Thunderbolts* is cognizant of the mental health issues that many of us battle everyday or at some point in our lives. These are characters who lack the individual ability to deal with their past mistakes and/or who feel trapped in an endless loop of despair, and Thunderbolts* does a terrific job of not only humanizing them through the traumatic experiences they've endured, but also making them incredibly relatable.

Again, Pugh and Pullman are particularly worth highlighting. The rest of the cast are superb, but the pair's raw, multi-layered performances, which build on the emotionally rich script penned by MCU stalwart Eric Pearson, and The Bear, Hacks, and BoJack Horseman scribe Joanna Calo, are as impactful as any MCU acting display you're likely to see.

We've no idea how original Bob Reynolds / Sentry pick Steven Yeun would have played the character before he was replaced by Top Gun: Maverick's Pullman due to scheduling conflicts, but it's a credit to Pullman's nuanced combination of goofball energy and disquieting intensity that an actor of Yeun's caliber isn't necessary missed in a film like this.

Thunderbolts* isn't without its niggles, mind you. For one, its ending feels a bit abrupt. Despite the emotional impact on display in the movie's final action set-piece, the manner with which the Marvel movie's Thanos-level-esque 'main villain' is dealt with is contrived – and, likely in the eyes of some viewers, eye-roll inducing – as well. The lack of screen time afforded to Louis-Dreyfus' megalomaniac and master manipulator is a bit of a sore point, too.

The logic used to 'depower' Sentry is also a bit too convenient. I'm sure Captain Marvel will have something to say about this, as will Gi'ah from Secret Invasion – we don't talk about that terrible Disney+ show here, though – but he's arguably the most powerful superhuman in the MCU now. With Robert Downey Jr's Doctor Victor von Doom due to upend things from a multiverse perspective in Avengers: Doomsday and Avengers: Secret Wars, a supremely powerful individual like Sentry would be handy to have around.

My biggest bugbear with Thunderbolts*, though, is the unceremonious and unnecessary demise of a character who deserved better in this movie, and in the MCU as a whole. I don't like how it played out, or how the immediate and long-term impact of what happened is handled. For a film that does so much right from a character introspection viewpoint, Thunderbolts* frustratingly drops the ball over this incident.

My verdict

Thunderbolts* is an expectation-defying, incredibly moving MCU entry that unashamedly wears its heart on its sleeve. It balances its melodrama, cathartic story, and deconstruction of heroism with the MCU's classic, fun-filled elements so well that it's a Marvel film I can see myself watching in a theater and/or at home many times over. Considering there are many other MCU movies I haven't seen since I initially watched them on the big screen, that's high praise indeed.

It would be easy to say Thunderbolts* is the best MCU film since, say, Avengers: Endgame. I've certainly been guilty of doing that with Shang-Chi, Black Panther: Wakanda Forever, and Deadpool & Wolverine.

Compared to some of Marvel's less impressive movie offerings in the years since Endgame, though, Thunderbolts* deserves to be part of that conversation. It doesn't reinvent the team-up movie formula, nor will it win any awards for its action sequences (for what it's worth, though, the stunts are mostly real rather than relying on CGI, and most of those sequences are great).

What it does do is tell a deeply emotional story about a group of alienated individuals who could purposefully walk away from problems that don't concern them, but who nonetheless do the right thing when the world needs them. If that doesn't make them deserving of "being the heroes on the Wheaties box with the little kiddie toy" – Red Guardian's words, not mine – I don't know what would.

Thunderbolts* arrives in theaters on May 1 (UK) and May (internationally).