Jodie Comer in familiar survival film

It’s been only a few months since Jodie Comer bulldozed through Broadway with her Tony Award-winning turn in the play “Prima Facie” as a lawyer whose life is thrown into chaos.

Now, the brilliant “Killing Eve” actress is back with the survival movie “The End We Start From,” which premiered Saturday at the Toronto International Film Festival, and again her strong-willed character has her entire existence dramatically called into question. 

Comer is just as propulsive and magnetic as she was onstage — albeit in a much less explosive story — only this role’s personal disaster is also a natural one. 

Like an indie “The Day After Tomorrow,” Great Britain begins to mysteriously flood in “The End We Start From” which is based on Megan Hunter’s novel, and drives hoards of panicked people out of waterlogged London to the north where it’s drier.

Woman (Comer) — we never learn her name — is pregnant and gives birth as the torrent rages outside. In order to survive, she, her partner (Joel Fry) and new baby boy Zeb must flee to his parents’ home in the country. 

That’s when things turn bleak. Food becomes scarce and, like in any apocalyptic story, humans devolve into animals, beating or even killing each other for scraps. Amid all that, a woman needs to protect her helpless newborn.

On her journey she meets another mother (Katherine Waterston) and a mysterious man (Benedict Cumberbatch), among other involuntary nomads. The vibe of every encounter is “Will they or won’t they kill her?”

Director Mahalia Belo and writer Alice Birch don’t overwork this familiar scenario, though, preferring some semblance of reality to the horror-adjacent scares of “A Quiet Place” (the third entry also features a baby) or “Bird Box.” One of this film’s strengths is its atmosphere of plausibility.

But even mentioning those other movies summons the biggest hurdle facing “The End” — that there are many, many films and TV series that bear a striking resemblance to it. This flick neither sinks nor swims — it bobs along. And you’ve pretty much seen it all before. 

Of course, Hollywood is betting you want to see it again. Paramount’s Republic Pictures bought “The End We Start From” at Cannes for a mid-seven-figure price, according to Deadline.

As well-worn as it may be, Comer reliably freshens up every project she touches and makes otherwise cold scenes sizzle. 

Just as Woman perseveres through the treacherous world for baby, it is worth it to stick with “The End We Start From” for Jodie.