“The Lazarus Effect” is not the usual mindless thriller, but it’s as flat as an open soda can from last week, with dull characters and virtually every scene taking place in a single location. In talking about “The Lazarus Effect,” a distinction must be made between the “Lazarus Effect” within the movie and the effect of “The Lazarus Effect” on audiences watching the movie. Olivia Wilde and Mark Duplass play a girlfriend-boyfriend pair of scientists, working with two junior assistants, one melancholy and one jolly. (In horror thrillers, jolly assistants are preferred, because they make the best victims.) The quartet is devising a process — combining a serum, neural stimulation and electric shock — that can regenerate life. Things start getting interesting when the team revives a nice old dog, but the dog looks forlorn about getting brought back to life, and tests indicate that his brain is overactive from the serum. Yet there are elements in this movie that are fairly worthwhile, despite the movie’s gloomy lurk and depressed pace. The movie covers some of the same ground as Luc Besson’s “Lucy,” about what might happened if people started using their full brain capacity. [...] this is an 83-minute movie that feels a half hour longer and, if it weren’t for the loud crescendos, it would put people to sleep. Mick LaSalle is The San Francisco Chronicle’s movie critic.

 

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