Originally packaged with a much more apt title (The Coup), the ambiguously-named No Escape is still the second surprise thriller of the summer (the first being the shockingly excellent The Gift). John Erick Dowdle, who delivered the monstrously underrated As Above/So Below last year, again proves his knack for preeminently nail-biting sequences with a 103-minute zombie feature that replaces said zombies with radicalized “Asians”. Whereas zombies lack motive, the bloodthirsty nature of the enemy in No Escape is their defining feature and makes for antagonists who are thinly drawn but hugely imposing. Moments of cliche are all but drown out by the overwhelming panic at the heart of the film, a film that manages to tap into the epicenter of terror – having your family hacked to pieces in front of your eyes. It is, in three words: intense as f*ck. Read More

John Erick Dowdle is an alchemist. He’s turned $5 million dollars into a pantheon of terror in As Above/So Below; an adventurer’s misadventure set in the made-for-the-movies Paris catacombs. There’s eddies of blood, characters crawling on their hands and knees through piles of dusty human bones, haunting cult-like choirs providing some hair-raising ambiance and eerie demonic symbology caking the scenery. It’s Temple of Doom meets the claustrophobic unease of The Descent – a spooky, campy theme park ride of a horror flick that’ll get your blood boiling and pulse racing.

Perdita Weeks plays Scarlet Marlowe, a tomb raider of the British variety who we meet sacking an Iranian cavern on the cusp of being demolished. She’s here hunting for a lost relic, an Arabic key stone that’ll help lead towards her ultimate goal: the Philosopher’s Stone. As sirens wail imminent danger, Scarlet scans the uncovered Key Stone with her helmet cam – the window through which we view the entire film – up until, and beyond, the cave beginning to collapse in on itself. Scarlet’s fast-paced introduction quickly gives us a keen sense of who this Dr. Bones really is; a smart, sly, risk-taker who will stop at nothing to accomplish her treasure-hunting goals; and what the film has in store. If you’re not already along for the ride by the time the title card rolls up, it’s unlikely the Dowdles will ever be able to win you over.

The rest of the film’s set-up is basic but well-balanced: Scarlet Marlowe, now the product of a documentary by secondary character and primary camera-holder Benji (Edwin Hodge), has tracked down the location of the Philosopher’s Stone – an artifact responsible for turning other base metals to gold and, more importantly, providing ever-lasting life to those who possess it – with the help of catty but canny George (a not-so-great Ben Feldman). Scarlet and George have a prior relationship that’s hinted at but never brought to the forefront. After frequent refusals to join the scavenging party, a run-in with local police forces the dastardly George into the underground fold with Scarlet, Benji and local spelunkers/inside men Papillon (François Civil), Zed (Ali Marhyar) and Souxie (Marion Lambert), tagging along as guides for promises of treasure.

The second we head underground, Dowdle’s lingering sense of doom takes hold like a bouncer who’s grabbed you far too hard. As our cast ambles through tight spaces and over cob-webbed canals of subterranean pathways, disorientation takes the steering wheel, directing us as audience members towards something unnerving and entirely frightful. A spooky discovery of the aforementioned carolers – who don’t prove to be a threat so much as an all singing, no dancing red herring – is the sinister icing on the cake. If you’re looking for creepy, As Above/So Below gives you all the feels.

Traversing deeper into the maw of this sinister network, the group begins to encounter relics from their past – a ringing telephone, a broken piano, a shambling noose. Each relic holds significance to one of the cavers. Facing the music is a theme of the Dowdle’s screenplay and it just so happens that the music here is rather unsettling and certainly none that you would opt to face. Thanks to a cave in though – of course there’s a cave in – there’s no turning back. Matters only get worse when La Taupe (Cosme Castro) shows up out of thin air to join the fun. His gangly posture alone was unnerving enough to have me clutching onto my armrests for dear life.

Found footage movies come with a certain expectation of averageness. They’ll get their few jump scares in, take your ten dollars and be on their way. In 2014, they’re a dime a dozen. And yet, As Above/So Below manages to put a new coat of paint on a fading formula. Give me more of this movie. With more killer production sets than you can expect from a movie filmed solely on Go Pros, an absolutely chilling atmosphere and a strong lead in Perdita Weeks, As Above/So Below is a massively unexpected surprise, a truly chilling chapter of an intriguing, if somewhat aped, lead character.

This first film in Legendary‘s distribution deal with Universal is unfortunately not off to a promising start – with only $470,000 from 1,805 theaters during its opening night showing – meaning that the franchise they were hoping for is likely not on the horizon. Sad news for this critic, who would relish the opportunity to see Weeks step into her salty British accent and Lara Croft garb again to face off with evil and caves. As is, As Above/So Below will have to live on in the catacombs of cult flicks, where you’d have to be daring to face it down on any given stormy night.