This article contains spoilers for "28 years later".

As part of the press tour for publication of "28 years later", Director Dani Boyle was asked by the creator of Tick Tok to blind his own favorite five films he made. Although the director was set to choose "28 years later" for the number one place, Boyle moved in a different direction and instead chose "Millions", the film he made in 2004 between one or two horror/scientific blow to the blow of “28 days later” And "Sun". While some social media commentators believe that this choice is confusing, it is not uncommon for the artist to appreciate their work generally seen or underestimated. In some cases, this is almost self-promotion, with the artist shining in the spotlight that they consider to have been given fair shaking.

In the case of Boyle and "Millions", however, the director's Ection's course feels particularly original, and nowhere is so more obvious than watching his latest film. Boyle is the author, of course, and thus has numerous stylish tics and thematic threads that link all his films and make some of the cohesive filmography. However, while "28 years later" is a continuation of "28 days later" on Boyle and has elements that appear in many other movies"Millions" seems to have the most in common. Since Boyle's millions work is really underestimated, aspects of appearing again in "28 years later" are very welcome. In fact, it is these qualities that share the two films that help make "28 years later" one of the most unique and outstanding post-apocalyptic horror films ever made.

Since the beginning of his career, Dani Boyle has proven to be capable of playing around with genres of conventions as much as the pace and tone of the film. As such, most of his films are either genres or unusual in their approach. "Millions" is no exception, because, as a reputation she has is largely as a sweet family film, her plot is essentially rooted in the movie Noir, and is something like Sam Raimi's "Simple Plan" (or his own debut of Boyle, "shallow grave"), but with children with wide eyes instead of Edad adults. In the film, a 9-year-old boy named Damjan (Alex Ethel) and his older brother Anthony (Louis Owen McGibon) came across a bag full of money while playing near the railway paths in their industrial suburban city. While Anthony is trying to devise a way to keep the money and use it for herself and for her family, the more colorful Catholic Damjan begins to give money in different charities. Unfortunately, one of the thieves who stole the money in the first place returns in search of it, putting Damian's plan for giving, as well as the life of his and his family in danger.

One of the most significant things for "millions" is how it treats Damian's Catholicism with respect. In another film, his insistence on giving money to others or using it for other charities will be ridiculed, and the boy's faith is likely to be humiliated in the process. "Millions" is not a Catholic propaganda, however - the film depicts Damian's version of faith, not that of the institution. Boyle and screenwriter Frank Cotrel-Boyce are exploring how Damian's worldview affects everything around him, with Boyle inserting interruptions and fancy flights as further examples.

The same can be said about the characters in "28 years later", as Spike (Alfie Williams) is part of the isolated remote island community, which seems to have established a declining faith of their own, as the outbreak of the rage virus in 2002. This faith seems to be extremely traditional (which is to say Patriarchal), and emphasizes everyone who has a role in what they refer to. The father-filled father, Ieeimi (Aaron Taylor-Nsonson), Spike aims to be a hunter. Where "Millions" position Demien's faith as a positive, motivational force, "28 years later" calls into question the island's strict beliefs, especially when the man living in the mainland, which Jameimi and others find himself a dangerous madman, Dr. Kelson, POS-CAPCALIP.

In their core, "millions" and "28 years later" are stories of adults, although the first is a little more traditional than the latter, both are deeply and strongly felt. This is because Boyle, Cototrel-Boyce and writer "years" Alex Garland meet their young protagonists with the traps of life, without pulling out. Yes, "millions" of sugar-waving these lessons a little in the form of fantasies and visions on Damian's day, but Boyle cannot help, but to bring preference to these fairy tales as traps; In the way the fantasies caused by Renton's heroin (Evan McGregor) in "Trainspotting" were sweet perverse, Damian's visions in Millions are perversely sweet. In line with that feeling of subversion, it can be argued that "millions" is not actually a film of age, until Damjan has a huge change during the film. While he really has a wake up in terms of stolen money and causes more harm than good, his faith is rewarded in the end, with the feeling of charity, seemingly, resulting in building some wells to help impoverished communities living in Africa.

The guy from boy to man is much sharper and more traditional in "28 years later", but is also as gentle as "millions", making "years" to the rare post-apocalyptic zombie film on which you can have a cadar cry. Once again, Boyle's sense of subversion is in play; Where in another movie, the clearly sensitive chic would reject his father's insistence on being trained as a killer, Spike comes to understand the value of being able to survive in the cruel world of the infected, but still rejects Jameimi (and the village) Patriarchal. Given Clifancher of the movie ends (and Direct Film Tracking to be released in January next year), it is likely that Spike's maturation has just begun. However, the "years" feel completely enough to consider it "millions" and his life lessons.

The most direct parallel between the two films is that both Damjan and Spike should suffer a loss of their mothers. For Damjan, the real event happened outside the screen before meeting him, yet the boy's visions indicate how much her loss affected him and his family. In contrast, Spike must withstand the slow fall of his mother Isla (Ododi Commer), which does not die of the rage virus but cancer. While Boyle did not have to suffer such an incident as a boy, he raised him A godly Catholic mother who wanted to become a priesta life that apparently rejected. This can be the core of Boyle's fluids in his films, especially these two; There are higher forces, and there is a cruel reality, and the two must find a way to coexist. At Dani Boyle's movies, they certainly do it.