As Above, So Below Review: Catacomb Crawl Delivers Claustrophobic Chills

Into the Abyss: A Found Footage Descent

Found footage horror has seen its share of ups and downs, often leaving audiences feeling like they've "seen it all before." Yet, As Above, So Below, directed by John Erick Dowdle, dares to drag the genre into the literal depths of hell, or at least the labyrinthine Paris catacombs. This 2014 chiller, while certainly leaning into familiar tropes, manages to carve out its own niche with some genuinely cool elements that elevate it beyond the usual shaky-cam fare.

The premise is simple, if a little absurd: an "absurdly perfect" archaeologist, Scarlett Marlowe (Perdita Weeks), who boasts multiple PhDs and languages, is on the hunt for the legendary Philosopher's Stone. Her quest leads her and her nomadic, vaguely romantic interest George (Ben Feldman), along with a crew of "Expendables," deep into the forbidden zones beneath the City of Lights. What starts as a treasure hunt quickly devolves into a terrifying journey through what feels less like an archaeological site and more like the gates of hell itself.

The Claustrophobia is Real

Where As Above, So Below truly shines is in its ability to immerse the viewer. Unlike many found footage films that rely on static shots of empty rooms, this movie frequently puts you directly into the action. Helmet cam perspectives make you feel like you're running alongside the characters, navigating the impossibly tight, suffocating tunnels. This first-person vulnerability is a massive strength, creating a palpable sense of claustrophobia that few films achieve.

The film also smartly uses its "slow build-up" phase. Before the full-blown demonic chaos erupts, the characters are actively solving puzzles, deciphering hieroglyphs, and navigating booby traps within the catacombs. This "Goonies"-esque adventure element is far more engaging than simply waiting for a ghost to appear in a bedroom closet. It provides a compelling narrative hook that keeps the audience invested even before the supernatural elements fully kick in.

Eerie Sounds and Expendable Souls

The sound design in As Above, So Below is a masterclass in unsettling horror. As one critic aptly put it, "if you want to make a horror movie not scary, cover your ears, not your eyes." This film understands that principle perfectly. Eerie cackling, disembodied whispers, and chilling ambient noises combine with cool visuals and effective edits to create a truly disturbing atmosphere. It's the kind of sonic landscape that burrows under your skin and stays there.

However, the film isn't without its familiar genre trappings. Beyond Scarlett, George, and their main guide Papillon (François Civil), the rest of the cast feels, as the reviewer noted, "fully Expendable." It's a classic "Red Shirt" scenario, where you almost expect certain characters to meet their demise, often in particularly brutal fashion. There's even a running gag about Satan seemingly having a personal vendetta against one character, who narrowly escapes death multiple times before his inevitable fate. While this predictability can be a minor detractor, it doesn't entirely derail the film's overall effectiveness.

The Final Verdict: A Good Time for Found Footage Fans

As Above, So Below is a film made for fans of the found footage genre. It acknowledges the clichés but injects enough fresh ideas and genuinely terrifying moments to make it a worthwhile watch. If you've grown tired of the genre's recent offerings, this movie offers a refreshing, albeit familiar, take. It's a good time that delivers on its promise of claustrophobic, puzzle-filled horror, proving that even in a well-trodden genre, there's still room for a descent into something uniquely unsettling.