Sara Bolger, star of In America and The Spiderwick Chronicles also appears. Glover is a massively popular musician under the name Childish Gambino who also stars in the hit sitcom Community and the recent Lion King remake. Peters is best known as Quicksilver in the X-Men franchise or his many roles in American Horror Story. The two lab assistants are portrayed by Evan Peters and Donald Glover. ![]() The supporting cast holds even more treasures. Opposite her is Mark Duplass, star of both Creep films, along with movies like Safety Not Guaranteed. The lead role, turned superpowered slasher villain, is portrayed by Olivia Wilde, star of TRON: Legacy and Cowboys & Aliens. Slater has an interesting track record, both good and bad, but his work here is less than impressive. Slater is the writer, executive producer, and showrunner on Marvel's upcoming series Moon Knight, and he's set to write the untitled Mortal Kombat sequel. He created the 2016 Exorcist TV adaptation and produced The Umbrella Academy, along with writing a few episodes of each. He wrote a screenplay for both Fantastic Four and Netflix's Death Note, both of which were terrible films that, reportedly, ditched almost every word he wrote on them. He has a history of putting his name on things that go on to largely rewrite his work. Dawson also produced the film, which is still his best performing film to date. Dawson previously bankrolled Darren Aronofsky's debut project Pi and wrote the 2008 American remake of Shutter. There are two credited screenwriters on The Lazarus Effect, Luke Dawson and Jeremy Slater. The first act is interestingly identical to the first chunk of the abysmal Fant4stic, which is funny because the projects share a writer. The overall plot is based entirely on a low-tier take on Frankenstein, down to the lead character's name. The psychic slasher stuff is a poor man's take on The Fury. There are a lot of films that The Lazarus Effect resembles, most of which were done better the first time. The mad scientist characters play like bored office drones, the death cure is just an injection, even the psychic powers play out with sub-par CGI. It's too grounded to be silly fun, it's too stupid to be clever sci-fi, and it's way too unoriginal to be anything special. The film's biggest sin is its overwhelming layer of boredom. The remainder boils down to a lackluster slasher movie wherein the killer is a bad Jean Grey. Zoe returns, a changed woman, now overwhelmingly violent and possessed of psychic powers. Zoe is violently electrocuted to death, so Frank immediately resurrects her with the serum. To attempt to replicate their study and claim ownership over their death cure, the scientists sneak in and recreate the experiment. To make matters worse, the organization that funds the research is bought out in a hostile takeover. The dean catches the scientists in the act and shuts down the project. Some tests reveal that the dog isn't just better, its brain is developing outward and becoming stronger. Though the canine unquestionably rises from its grave, it begins acting aggressively and stops eating. The duo enlist a pair of lab assistants and successfully revive a recently euthanized dog. The Lazarus Effect is the tale of a pair of university medical researchers, Zoe and Frank, who attempt to create a serum that could jolt coma patients out of their slumber but instead wind up curing death. RELATED: How Cloverfield Revolutionized Movie Marketing ![]() The one and only horror film in the catalog of a director best known for documentaries about cooking worked out about as poorly as one would expect. His most beloved work is the heartwarming 2011 piece Jiro Dreams of Sushi, followed swiftly by the 2015 series Chef's Table. The Lazarus Effect was directed by David Gelb, who was then and is now best known for documentaries. For every masterful work of suspense, there are a thousand riffs on the same idea that are buried by each other before attaining any notoriety. Horror films contain both some of the most groundbreaking examples of experimental storytelling and the most creatively bankrupt ripoffs in modern cinema.
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