In All The Lost Ones, director Mackenzie Donaldson delivers a lo-fi dystopian thriller that’s as much about survival as it is about the slow erosion of trust in a fractured America. Set in a near-future where climate change has catalyzed a government crackdown and subsequent civil war, the film explores the lives of a small group of resisters trying to outrun a brutal militia force.
At the center of the story are Nia (Jasmine Mathews), her sister Penny (Vinessa Antoine), and her boyfriend Ethan (Douglas Smith), who find themselves hiding in a remote cabin—until their sanctuary is disrupted by a militia leader named Conrad (played with prickly intensity by Devon Sawa). As danger closes in, the group is forced to make a desperate escape, triggering a tense and at times unnerving journey.
The film succeeds on several levels, particularly in its environmental aesthetic. Shot in North Bay, Ontario, All The Lost Ones boasts beautiful scenic vistas and immersive natural settings. The location scouting is top-notch and lends the film a grounded authenticity that reinforces its survivalist tone. There’s also genuine chemistry between Mathews and Smith, which gives the early character moments some much-needed emotional weight.
In many ways, the film feels like The Walking Dead without the zombies—heavy on dread and moral ambiguity but light on backstory. The film remains somewhat opaque about the broader political conflict and the origins of the civil war, which might frustrate viewers hoping for a more detailed world-building experience. Still, there's an eerie timeliness to its themes of extremism, collapse, and community erosion.
While the premise is compelling, it’s not wholly original—similar survivalist thrillers have tread this territory before, sometimes with more nuance. What sets All The Lost Ones apart is its bleak atmosphere and commitment to its lo-fi, indie roots. The film includes a few unexpectedly violent moments that jolt the viewer, though its pacing drags in sections. With a large ensemble cast, some characters barely register before they're killed off, making emotional investment difficult.
Devon Sawa delivers one of the film’s stronger performances, leaning into the menace and moral murkiness of his role. Unfortunately, not all characters are as compelling. Some decisions made in the final act feel baffling, including one character inexplicably avoiding safety for no clear reason—the ending stumbles with logic and clarity, which undercuts the stakes and emotional payoff.
Narratively, the film touches on big ideas—resilience, ethical compromise, and climate collapse—but doesn’t always explore them with the depth they deserve. The twists are predictable, and the lack of subtlety can at times feel forced. Still, the film remains watchable and may resonate with fans of low-budget, high-concept thrillers.
While All The Lost Ones doesn’t entirely escape the shadows of its influences, it brings enough atmosphere and thematic weight to merit a watch. It’s not the most thrilling thriller, but it’s a somber reflection on survival in a fractured world—made with heart, if not always with finesse. It’s now available digitally and on demand through Epic Pictures.
Jessie Hobson