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It’s no surprise that the film impresses above (low) expectation; it was directed by John Erick Dowdle, who managed to make solid (if underappreciated) material out of a single-setting horror flick (Devil), and an American horror remake (Quarantine), respectively. Here again, Dowdle takes something that could go so wrong (found-footage) and infuses it with some clever ideas and filmmaking techniques that enhance the overall experience.
He certainly borrows a few lessons from Niel Marshall’s The Descent - and then, takes those ideas a step further - using the setting of subterranean exploration as THE principal scare source and threat throughout the film. Phantom apparitions and freakish figures in the dark make their appearance to give us goosebumps, but As Above, So Below‘s most heart-stopping, hand-clenching, sequences have to do with seeing characters squeeze through dark crevices, outrun collapsing caverns, or dive into dark pits or murky pools as they try to survive under the earth.
The found-footage logic and structure (a single documentary cam and multiple head cams – all used for light) helps to create an eerie effect of near-dark menace, with sufficient light to follow what’s going on, and enough variation in point-of-view that the eye does not get bored. Due to the nature of the story (more on that later), the scares come in nice variety ranging from realistic and practical (falling, being crushed, etc.) to dangers more supernatural and psychological in nature. With so many threats at play both internally and externally, it’s easy for Dowdle to apply a pulsing soundtrack and a few visual effects that turn amateurish footage into a playground of dread for the imagination.
Dowdle wrote the script with his brother/collaborator Drew, and while it’s effective in areas like characterization and premise, it suffers a lot in the areas of character/thematic development and narrative arc – despite attempting to sow some much deeper emotional/thematic seeds into the narrative early on. There is also a lot of mythos thrown around (a combination of history, mythology and religious theory), but very little of it is fully explained or resolved – ditto for a lot of character background, which happens to play a huge part in the finale of the film.
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