Director: David Gelb
Cast: Olivia Wilde, Mark Duplass, Evan Peters, Sarah Bolger, Donald Glover
Running Time: 83 minutes
Four years ago filmmaker David Gelb directed the lovely, layered, joyous documentary JIRO DRAMS OF SUSHI. During Frightfest we got see his newest effort, THE LAZARUS EFFECT. What the hell happened?
Gelb abandons novelty and nuance for a by-the-numbers FRANKENSTEIN horror. Medical researchers work on a cure for death. Big Pharm is looking to steal their ideas for nefarious gain. Think SPLICE.
The scientists test their process on animal subjects, but make the leap to human trials a tad prematurely when one of the team – Zoe (Olivia Wilde) – is electrocuted. Things do not go well. Think PET SEMATARY.
The serum sends superpowers to Zoe’s brain. Think LUCY.
But Zoe may have been brought back from hell, and may have brought some of hell back with her. Think EVENT HORIZON. Or FLATLINERS.
It appears screenwriters Luke Dawson and Jeremy Slater have seen enough movies to be able to cobble together plenty of stale ideas to fill 83 minutes, although you will swear the film runs two full hours.
Part of the problem is the blandness of the set. For most of the running time we’re trapped in the hospital’s sub-basement with the doomed scientists. This should create anxiety, develop claustrophobic dread, but the dull set and uninspired direction do little but breed tedium.
Gelb can generate tension now and again, but he doesn’t know how to deliver the payoff. The film is so by-the-numbers – from the greedy chemical company to the dream sequence, from the dog to the unrequited love to the twist ending – there’s nary a surprise to be found.
Wilde and cast (Mark Duplass, Evan Peters, Sarah Bolger and Donald Glover) can’t bring depth to their characters, though Wilde does give it a shot. There’s more to Zoe than what’s on the page, but not nearly enough to keep the film interesting.
There are plenty of awful horror movies, and THE LAZARUS EFFECT is not one of them. It’s succinct, tidy, offers a jolt or two, and it’s held together workmanlike-fashion with enough logic and borrowed ideas to remain lucid for as long as it needs to. But horror also has some great films to offer, and this is certainly not one of those. It’s a disposable flick and a genuine disappointment from Gelb.
Read more from Hope at MADDWOLF.