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A lady with two young children, who couldn’t have been more than six and four years old at the most, entered the theater just prior to the start of the screening of the new horror film “The Lazarus Effect,” which I was there to see. A decision like this one made by the parents would normally result in the children shrieking and yelling in response to all of the disturbing visuals and loud sound effects coming from the screen. In spite of all the heinous acts that were depicted on the screen, I don’t recall hearing a single word from either of them at any point throughout the screening. From this, I can draw one of two conclusions: either young people in today’s society are even more jaded than was previously suspected, or, more likely, “The Lazarus Effect” is such a feeble excuse for a horror movie that it cannot even get a rise out of a couple of kids who are staying up past their bedtime on a school night. I will choose the latter explanation.
The plot of the movie is a variation on the old chestnut of conceited scientists who discover the secret to bringing the dead back to life, only to be amazed to find out that it is not all that it is cracked up to be. The film is yet another riff on the old chestnut. This time around, Frank (Mark Duplass) and Zoe (Olivia Wilde), two researchers working at a university in California, are the ones interfering with God’s domain. They are in the process of developing a serum that has the potential to bring the dead back to life. They are able to bring a dead dog back to life with the help of their team, which consists of the computer expert Niko (Donald Glover), the stoner brainiac Clay (Evan Peters), and Ava (Sarah Bolger), the cute newcomer who exists solely so that the other characters can explain things in length to her (and the audience) that they presumably already know. Unavoidably, the dog doesn’t seem to be in the best of shape afterward, and one of the characters makes a remark about how it might end up going all “Cujo” on them. This is presumably because making a reference to the much more appropriate “Pet Sematary” may have seemed a little too on the nose for comfort.
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The Lazarus Effect Quiz
Because of a series of ridiculous events that are beyond the scope of this discussion, the group has been excluded from their own project and all of their research has been appropriated by a biotechnology company. They sneak back into the labs one night in order to conduct the experiment again in order to provide evidence that the work in question was completed by them. Unfortunately, everything gets messed up, and Zoe ends up getting electrocuted as a result. Frank, who is inconsolable over her passing, makes the heartbreaking decision to inject her with the antidote and bring her back to life, all the while remembering his oath as a mad scientist to first and foremost cause harm. Again, it works, but things are not entirely right with her either as she begins utilizing one hundred percent of her brain’s functions to develop strange powers such as telekinesis, the ability to pull the others into her memories of a barely-buried childhood trauma, and the habit of knowing exactly what everyone else is going to say before they say it. Now that they are trapped inside the lab, the others find that they are being killed off in a gory fashion one by one (although not gory enough to violate the PG-13 rating), all while desperately trying to figure out a way to put a stop to what they have wrought before the obligatory final scene that is designed to set up a sequel.
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About the quiz
If you found the preceding description tedious, clichéd, and overly predicable, you should try sitting through the event as it is taking place. This is not an actual horror film; rather, it is the kind of horror film that the characters in actual horror films watch in order to make jokes about how ridiculous the genre is before the real scares begin. The screenplay for this movie was written by Luke Dawson and Jeremy Slater, and it is a pastiche of elements taken from other movies. These other movies include “Frankenstein,” “Flatliners,” and, oddly enough, the action hit from last summer, “Lucy.” (To be completely fair, the latter is more of a coincidence than anything else, considering that the movie has reportedly been stored away since 2013.) Although these can be effective when used sparingly, the film proceeds to run the technique into the ground within the first ten minutes and then continues on with it. The scares are almost entirely of the cheap “BOO!” moments where someone unexpectedly pops into the frame for a quick jolt. The one moment in the movie that is guaranteed to give the audience a good scare, which is the part where something that is supposed to be lifeless is lying under a sheet and suddenly sits up, is botched to the point where the only screams heard are those of exasperation. To add insult to injury, the whole thing is shot in such a dim environment that even the act of looking at it feels like a burdensome task that is hardly worth the time spent doing it.
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When I walked away from “The Lazarus Effect,” the only thing that was going through my head was the question of why so many talented people chose to be a part of a project that, by all accounts, is the kind of thing that is typically made by total unknowns who then vehemently try to deny that it ever existed if they end up becoming famous at some point in the future. Okay, I guess I can kind of understand why Olivia Wilde might have done it. After all, she gets to bark, drool, sleep four feet above the covers, and deliver the immortal line “Did I just die?” in an episode of “House” that may have struck her as an exceptionally wacky episode of the show. That does not, however, explain why talented actors like Duplass, Glover, and Bolger would waste their time on roles that are so unimportant. Even the director, David Gelb, has a better pedigree than one might anticipate: despite the fact that this is his first narrative feature film, he made a name for himself a couple of years ago with the critically acclaimed documentary “Jiro Dreams of Sushi.” In one scene, he has Wilde eat a plate of sushi, and it almost seems as though he is giving a shout-out to the work that he had done in the past. Unfortunately, the pieces of fish that are sitting on her plate come closer to showing recognizable signs of life than anything else that is currently being displayed here.
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