Just in time for spooky season,one of the creepiest found footage movies ever has been added back to Netflix!John Erick Dowdle’s 2014 film,As Above, So Below, is a claustrophobic nightmare. FollowingPerdita Weeks’ Scarlett, an unlikely team of twenty-somethings descend into the Parisian catacombs to hunt down the mythic philosopher’s stone. As they traverse the tunnels, however, the group stumbles into Hell. Dowdle’s film is reminiscent ofNeil Marshall’sThe Descent, cleverly playing with enclosed spaces to increase the tension and suspense of otherwise mundane scenes. This psychological aspectelevates the movie from horror to pure terror. Regardless of its impressive ability to frighten without any blood or guts,As Above, So Belowdoes not shy away from the more traditional aspects of horror. The film relishes jump scares, gore, and screaming. The ability to effortlessly switch between tone-building and classic tropes makesAs Above, So Belowa must-watch or an essential rewatch.
The Creepiest Scene in ‘As Above, So Below’ Hits Before the Group Goes to Hell
Long before the group wanders into the depths of Hell, or even begins to experience anything supernatural,As Above, So Belowdelivers its most unnerving scene. As Scarlett and her group climb over loose bones andgothic church musicgrows louder, the camera reveals through a gap in the stone walls a room full of unusually dressed singers. The already haunted vibe of the catacombs allows this moment to have its maximum impact. The staging of the group working their way down the long hallway of rough rock and bone as the singing increases in volume ispure suspense. The scene serves no larger plot purpose,primarily focusing on generating a creepy atmosphere to prepare the viewer for the horror to come.
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As action-packed and dramatic asAs Above, So Belowcan get, it’s often at its best when leaning into moments of tension. Oftentimes, the addition of a found-footage angle can feel unnecessary and bloat a film. Dowdle was careful, however, to weave the camera POV into every scene. The shakiness of the footage as the team traverses long tunnels does a lot to set the audience on edge without anything happening. As with thecult singers, there is no reason for a viewer to squirm, and yet as the singing grows louder the further down the tunnel the team goes, the audience gets nervous.There is always a sense of mounting pressure, both on a scenic level and on a more structural level.The cult singers are non-violent, but as the team traverses deeper, they encounter more frightening sights until they are in Hell, where the terrain begins to attack. Gradually introducing greater extremes makesAs Above, So Belowa pressure cooker of tension.
‘As Above, So Below’ Has a Unique Aesthetic That Informs Its Horror
Scarlett’s mission and reason for being in the Parisian catacombs is the hunt to find Nicolas Flamel’s philosopher’s stone. A mythic, alchemical item that can transform base metals and grant eternal life, the implication of it being real in this film immediately establishes a fantastical tone.As Above, So Belowis specifically interested in Biblical mythology, a shockingly underusedwell of inspiration in horror.Whilenun horror filmscome out every other year, there is a gap in the market for terror derived from thetexts and lore of Christianity.As Above, So Belowis primarily drawing from Dante’sDivine Comedy, with a focus onThe Inferno.
Once in Hell, the group is subjected to a twisted version of the Hell Dante and Virgil walked. Scarlett and her group are terrified, but Scarlett’s scholarship makes her uniquely capable of navigating the situation. WhileScarlett explains a lot to any audience member who isn’t in the know,there are also several winks for those who have read Dante’s work. After one shocking death, the victim is buried vertically, with his feet sticking up out of the gravel. This was the preferred punishment for heretics, according to Dante.
As Above, So Belowis often called one of the best-found footage horror films, and rightly so. Now that it is back on Netflix, everyone should run to watch it.Contrasting aspects of Biblical mythology against the new-aged found footage makes for a dynamic watch.As Scarlett translates Latin on the fly and explains bits of lore, the camera wobbles, reminding the audience that regardless of the Medieval feel of the setting, they are firmly in 2014. The distinctive aesthetic combined with creative moments of tension building make the film a stand out within the genre.
As Above, So Below
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