by Matt Smith
Aside from the standard digital handheld the party is also outfitted with four cameras embedded in their headlamps. The cameraman informs them of the cameras’ existence when he turns on the lights which will be so vital to their survival as they navigate uncharted areas of the catacombs deep under the streets of Paris. As they go deeper into the tunnels, the cameras and lights become an extension of our reality—as viewers, we are permitted to see through mediation, we are arranged within the aesthetics of the film as observers who can verify the truth of the image. This is the central conceit of all found footage horror. We must bear witness to the liminal spaces encountered by our protagonists. The movie I’m describing is the new horror film As Above, So Below, an exercise in equal parts creepiness and endurance that works most of the time, keeping viewers on the edge of their seats. The mythology built up within the story is simple: Scarlett (Perdita Weeks), a young scholar and historian, is searching for the Philosopher’s Stone, a pursuit which years earlier had caused her father to go mad and take his own life. Scarlett, along with her ex-lover George (Ben Feldman), the aforementioned cameraman Benji (Edwin Hodge), and three Parisians who will guide her through the catacombs, enter the tunnels under Paris in order to find the hidden chamber containing the stone which is also rumored to be the gateway to Hell.
The first two-thirds of he film are quite strong, though the final act is a bit of a letdown as it falls victim to many familiar problems with the found-footage format, namely the propensity of characters to run wildly to/from different locations while being pursued by monsters which tend to pop up out of nowhere. Since the film spends quite a long time indulging in very clear mythological construction based on occult alchemist beliefs and building an atmosphere of dread anticipation and madness, the later sequences in which Scarlett runs through the mystical realm of Hell while encountering numerous jump-scares just don’t work. The mood set by the quiet build-up to the group’s entrance into the netherworld is abandoned outright, and the descent into shaky-cam and near-constant screaming and shapes jumping out of the darkness is tired and brings the whole thing to a grinding halt. This stoppage is only slightly improved upon in the film’s final shots, which bring back the head-tripping moments of the middle third, when our protagonists first cross the threshold into the mystic realm as described by old alchemist prophecies.