As Above, So Below – USA, 2014


‘The only way out is down.’

As Above, So Below is 2014 American found footage horror feature film directed by John Erick Dowdle (The Poughkeepsie TapesQuarantineDevil) from a screenplay co-written with his brother Drew.

The Legendary Pictures movie stars Ben Feldman (Cloverfield, Friday the 13th, 2009), Edwin Hodge (All the Boys Love Mandy Lane, The Purge) and Perdita Weeks (The Cold Light of DayProwl).

Miles of twisting catacombs lie beneath the streets of Paris, the eternal home to countless souls. When a team of explorers ventures into the uncharted maze of bones, they uncover the dark secret that lies within this city of the dead…

as above, so below 2014 found footage paris catacombs


” …they splash some Freud into their mishmash of alchemy, Egyptology, Satanism and Dante. In addition to supernatural evil, the main characters must confront their own guilt about catastrophic past failings. It’s all too much. As Above, So Below is inherently absurd, but it would be somewhat less so had it fully committed to just one of its ridiculous premises.” Mark Jenkins, The Washington Post


” …the story would have played much better if the filming style weren’t so demanding of attention and generally wearisome. Referring back to [REC] for a moment, those filmmakers understood the need for viewers to pause, occasionally, and rest their eyes on stable images for a few minutes, in between the herking and the jerking. Here, there is no rest…” Peter Martin, Twitch

“There are moments of welcome tension amid the inchoate lunacy, but these in turn merely highlight why the rest of the film doesn’t work.” Bilge Ibiri, Vulture

“There are some interestingly contrived moments of claustrophobia and surreal lunacy, but this cliched and slightly hand-me-down script neither scares nor amuses very satisfyingly.” Peter Bradshaw, The Guardian


“Throughout, there are flickers of a scarier movie: one prepared to map this boneyard, with its wrong turns and false floors, altogether more rigorously. For precisely thirty seconds, as the camera fixes on the agonised face of a character trying to pass through a narrow crevice, the Dowdles evoke a comparable claustrophobia to Neil Marshall’s 2005 film, The Descent.” Mike McCahill, The Telegraph

“Yep, this is another film in which the crux of the horror is prior “sins” coming back to haunt people in the present, and you have to marvel at the coincidence of each one of the spelunkers having some sort of terrible tragedy in his or her history.” Ken Michaels, Fangoria

Official site



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