“As Above, So Below” is an ambitious, deep, and philosophical film; more so than most horror films would ever dare to be. Though it doesn’t quite reach the heights it aims for, this is nonetheless a laudable attempt. That being said, I’m thankful to have watched this in the comfort of my own home because I would’ve needed a barf bag if I saw this in theaters. There is such nauseating camera work in the film, whether it was intended to be that way or not, that I think will really put some people off. Shaky-cam withstanding, I thoroughly enjoyed the film and I urge those reading to give it a shot because this is truly a hidden gem in the horror genre.
The plot is a mix between the esoteric symbolism and myth hunting you would find in films like “National Treasurer” and “DaVinci Code” (which I really enjoy), and the psychological confinement horror of films like “The Descent” (which I also really enjoy). The film is about Scarlett (Perdita Weeks) and her search for the philosopher’s stone (a mythical alchemic stone that sustains life and turns base metals to gold). Scarlett’s father killed himself in the search for this stone, and now Scarlett holds it to herself to finish her father’s job. The other characters that we meet along the way are nowhere near as compelling or purposeful as her and the film would’ve benefitted by cutting out a couple of characters. This would’ve allowed for more time to focus on the trauma of a select few, something which becomes very important near the end of the film.
From the sound effects, visual cues, to the environment of the catacombs (where Scarlett believes the stone to be), the filmmaking is on peak display. There are some great visuals sprinkled throughout the film which not only get you thinking, but are genuinely creepy and nerve-wrecking. I can imagine a cult following that will dissect the symbology and deeper meaning of things that are encountered here. It’s stuff like this that really kept me glued to the screen. Towards the end, the film becomes a jump-scare/haunted house horror film, but for the most part the movie relies on psychological horror and fears of confinement.
There is a great scene, about midway into the film, where one of the characters Benji (Edwin Hodge) gets stuck while crawling through a crevasse in the catacombs. He gets tense and begins hyperventilating, the camera is fixed on his panicked gaze, human bones are below him. All the while, we hear these ominous chants and Scarlett’s voice trying to help him. The scene lasts for an uncomfortable amount of time and really establishes the tone of what these characters are getting into. It’s moments like this, many of which are sprinkled throughout, that really puts this a cut above the rest.
When this film first came out in 2014, critics and audiences alike blasted the film. There was simply an oversaturation of low-budget, found-footage horror at the time for this to get the credit it deserved. Overtime, this film has really found its audience and is turning into a hidden gem. The ability to stream this film on your TV or computer, I suspect, also played a role in the differing opinions of people through the years. The shaky-cam effects are much more tolerable on the smaller screens.
This was the last horror film that director John Erick Dowdle made, since this film he has gone on to make action and historical drama films, such as the TV miniseries “Waco”, and is currently remaking “Friday Night Lights”. Though I haven’t seen his other films, I do hope he returns to the genre because “As Above, So Below” showed a director with great potential in horror. That being said, check out the film if you haven’t already, you may find something quite special.
