Too often, post-apocalyptic survival thrillers fall into the same formula, making the viewing experience rather predictable indeed. It takes a unique hook or approach to differentiate between what we have come to expect from this floundering subgenre. Writer/director Alec Tibaldi hones in on a female family, surviving off the grid as the world around them becomes ravaged by some sinister virus in Lazareth. Leading the pack is the legendary Ashley Judd—no stranger to the thriller genre herself, having led favorites including Kiss the Girls and Double Jeopardy. Here, Judd plays the matriarch, fiercely protective over her two daughters. Tibaldi’s script intimately examines how these women have managed to maintain their solitude over the years, even as countless outsiders threaten to disturb their quiet existence.
The first act establishes our characters, and their version of normalcy. One would be remiss not to recognize parallels between A Quiet Place, or the recent Arcadian. Yet, Lazareth feels different thanks to the bleak atmosphere and the almost entirely female leads. Lee (Judd) tells her daughters, Maeve (Sarah Pidgeon) and Imogen (Katie Douglas), about the distinct “before” and “after” of the virus spreading, making it into something of a fairy tale. Together, the girls must protect their home, which Lee has dubbed “Lazareth,” from outsiders. For stragglers that come begging for food, Lee will not allow the virus to overtake her family by any means necessary.
After a decade alone, a stranger threatens to destroy their peaceful facade. Enter: Owen (Asher Angel), a tattoo-covered, injured teenager seeking refuge. Imogen wants to help the boy, the first from the opposite sex that she has literally ever seen in person. Maeve is more cautious; she knows that Lee would not approve. Maeve inquires constantly about what awaits them on the outside, whilst her sister remains more naive to the curiosities. Lee stays concerned about hoarding canned goods to get the girls through winter, unbeknownst that the sisters want to provide aide to the outsider. When Imogen proposes bringing the boy stay in the cellar until he can recover from his wounds, the winds of change are in the air. No longer will the trio thrive alone in their space.
Tibaldi playfully observes these characters and their situations without judgment. Imogen and Owen are delicately shoved together, as a romantic connection appears to blossom between them. Imogen seductively helps to wash Owen’s wounds so he will no longer bring his “stench” into their home. Despite minimal dialogue, Asher Angel is quite good as the lone male presence. Owen must learns their ways, including the bizarre seven tenants of Lazareth. To have any chance of earning a spot at the dinner table amongst Lee, Owen will have to prove his worth.
Naturally, more than a few twists and turns creep out along the way. This apocalyptic thriller could have been serviceable without the extra additives, but I have to admit that they make it feel even more special. As we build towards an exciting climax, the bonds between the women and Owen are tightened, and primed for survival. Judd has already made so many incredible thrillers that figuring out where to slot in Lazareth amongst the ranks may be a fool’s errand. Nevertheless, here is a worthy addition to her filmography. Points may be docked for originality certainly; however, the cohesiveness of the ensemble cast and intrigue behind its moving parts make Lazareth utterly unmissable.
Give thanks to Lazareth when this unique thriller scavenges seats into theatres and On Demand everywhere on Friday, May 10th.
