And so the descent into...hell?

***



As Above, so Below (2014), I remember the poster on the wall of a theater when I was seeing something else. I decided to skip it when it was in theaters, although I was curious about it. Reviews, mixed and often citing this as mediocre, didn't encourage me to see it. So I waited until it hit redbox, not even that encouraged to see it when it was first released to home video. After this second viewing on Cinemax, I feel more now than even the first time this works best as an archeological, Indiana Jones-type found footage adventure than as a horror film. I think its weakest elements concern when it seems those who made this felt the need to deliver some horror. "Memories" and "horrors from the past" usurping and nearly enveloping the characters "searching for the treasure" (well the Parisian thrill-seekers needed to help the brilliant, if "move first, without thinking things through" college student and her language-expert friend (with special knowledge of Aramaic she isn't as learned in) are seeking this out while the two experts following them seek "the philosopher's stone") is treated like invasions that are quite life threatening.

My favorite parts are the mysteries learned and the ensuing developments on what Scarlett (Perdita Weeks), with multiple degrees (including alchemy, her prized knowledge is in this field, as her dad, who had an incredible influence on her, was an expert in alchemy, even teaching it) and her "boyfriend"and colleague, George (Ben Feldman) uncover while in the Paris catacombs. Benji (Edwin Hodge) is her camera operator (a close friend, and possibly met her in school), willingly following her into the "belly of the beast". There is one point where Scarlett is able to recognize hidden transcript on the back of a headstone that hung in a Parisian museum, and the catalyst in all of this descent into the catacombs to hopefully learn of the stone her father researched--and kept an extensive diary on--derived from an insistent pursuit of "the key" (hidden in a cave, written in a metal statue in Iran, where she had to sneak in without being caught) which would benefit in her search.

For me, the dark, claustrophobic tunnels, and the camera's capturing of this long descent (well, cameras' capturing, as all six who take the travel into the catacombs have headlight cameras which record what they see in front of them) are the film's best assets. The "stone creatures" coming out of the walls, the burning car with the passenger inside "left behind" by the descent's lead guide, Papillon (François Civil) as he's dragged into the ground with his legs sticking out, the emergence of a phone ring, hands coming out of what was water and turned into blood, the hanging body from the noose emphasizing the internal horrors plaguing those in the tunnels didn't impact me. I kind of thought many of the scenes were silly, and not only seemed silly but looked silly while the camera unveils them to us.

The sight of these worshipers in a chamber, the archeological findings (like the Aramaic and other transcripts) on walls foretelling possible terrors awaiting them (like one transcript written in stone that declares the entrance to hell while another dictates, "Abandon hope, all ye who enter here"), the "treasure room", the walls lines with bones, skeletal remains, and skulls of the dead, the actual stone, and the crawlspaces and wells which could lead to unknown horror are where I felt this hit its stride, particularly visually. The tension of not knowing what lies ahead...eerie stuff. Sadly, it is what lies ahead that I felt does the film a disservice. Anyway, the main criticism is the photography which seems to work against the found footage genre as a whole. Movement this way and that way, from the foreheads of the six characters, the location, tight and ominous in its cutting off from what is above, the cameras capturing of what is below can be a bit chaotic and disheveled. As a criticism, I can understand and can't necessarily condemn, but the film, during its best can be quite an exciting departure from the usual found footage offerings. When its horror is identified, though, the film resorts to the Grave Encounters and Paranormal Activity "boo" scare tactics to engage its audience seeking such jolts and surprises.

I was most fascinated by Papillon's fellow guide and traveler, La Taupe (Cosme Castro), although he seemed more of a device, used as a way to get them further into the catacombs, and later as a weapon towards killing off a member of the party (Papillon's girlfriend). He went to look for the reputed treasure but what the party see isn't the same person Papillon knew. He had this ghoul-like quality I found quite creepy. He serves his purpose, I guess.

Some of you might find the elements regarding the traumas that torment the party emerging supernaturally in the catacombs fascinating, but I myself consider them rather jarring to the atmosphere of the eerie surroundings and place. That's the point, though: the unfamiliar arising in the familiar. The modern and ancient merging thanks to those in the catacombs.

Ali Marhyar is Zed, Papillon's buddy, and he winds up being crucial to the film in terms of what his camera sees. It allows the two main characters a chance to be seen in front of the camera and in the middle of the action. But what I think is the film's best sequence has Scarlett having to retrieve "the right stone" in order to save George by heading right into the middle of danger after just escaping it. It is her devotion to George and courage to walk right into the heart of the darkness that makes the sacrifice so extraordinary. Also, seeing her going through all of this in one long take, braving all the dangers in such a quick succession, is quite breathtaking. This is damned impressive in its continuity and fluidity.