A found-footage Indiana Jones which is possibly punching above its weight in the ideas department "Found-footage? Pfft" you may say. And yes, it's fashionable to dismiss found-footage films as passe and beneath us
we all do it. However, upon consideration this criticism doesn't really hold much water when scrutinised. Sure, the majority of found-footage movies are bad, but then this may have something to do with the terrible plots, poor scripting, and weak acting these movies exhibit
aspects which arguably wouldn't have been redeemed by a more conventional cinematic approach. Conversely, movies which have a solid idea, are carefully scripted, and well-acted lose little from being done as found-footage and, in some instances, are better for it. Right, that prejudice dealt with, I have to say that 'As Above, So Below' isn't a fantastic movie. In fact, it's barely a scary movie
however, it gives it everything it has and even where it doesn't quite cut it I found that I respected the movie for trying.
The protagonist is a young archaeologist Scarlett (Perdita Weeks) who is continuing her father's work searching for the fabled Philosopher's Stone – a mythical item believed to possess the ability to transform lead into gold as well as confer immortality. Her quest takes her to Paris where she intends to descend into the infamous real-life Catacombs and to do so she and her colleague seek the help of a small troupe of aloof French types who know the labyrinthine tunnels well. They enter the catacombs and it doesn't take long before members of the group experience paranormal events like seeing long-dead friends or family and the events which killed them. Soon, they pass the point of no return and, in a desperate attempt to escape, descend deeper and deeper into darkness.
The setting of the movie is genuinely macabre, and like 'The Descent' the simple fact of being in a series of underground tunnels immediately creates a tense, claustrophobic atmosphere which pushes the story along at a nice pace. However, while 'The Descent' is half group psychology story and half monster-living-underground story, 'As Above, So Below' is more consistent in that it soon becomes clear that what the group are experiencing are their own repressed fears and guilt which, in order to survive, they must confront
and being a horror movie, many don't. However, while the movie sets up the suspense well and executes some nice chills when they enter the Catacombs, the chills soon settle into temperate mildness and never really threatens to scare. In addition, the movie adds a mythological dimension to the plot in constantly referencing Dante's 'Inferno' which describes the various levels of Hell
something which we are led to believe the group are inching ever closer to as they continue deeper; however, whether this is a literal Hell, a psycho-spiritual Hell, or both is left deliberately ambiguous at the ending.
Horror movies are often treated as dumb. Something which I have always considered a criminal mis-representation as the best horror movies touch something deep within our psyches. In trying to inject some intelligence into the genre, I applaud the movie. However, crucially, while playing with some meaty ideas as the film plays itself out I began to feel that the emphasis on these mythological underpinnings detracted from the impact of the movie
and what's more the lack of any substantial engagement with the themes meant that, by the end, the movie felt like a faux-intellectual exercise rather than a whistle-stop tour of the guilt-ridden reaches of our characters' souls.
Still, 'As Above, So Below' is a decent watch due to some good acting, decent direction, and a great location which, like I say, even though the movie fails to achieve what it set out to do nonetheless deserves applause for attempting to be original.