Peter Bradshaw 

As Above, So Below review – neither scares nor amuses very satisfyingly

John Erick Dowdle tries to inject new life into the found footage horror genre but falls back on cliche, writes Peter Bradshaw
  
  

As Above So Below still
As Above So Below … hand-me-down script Photograph: PR

The found-footage, scary-movie genre appears to be discreetly evolving away from the convention of being filmed from a single-camera position, and that we are watching a tape recovered from the site of some mysterious event. As Above, So Below is a found-footage film in the emerging style, whereby the characters conveniently all get headset cameras, explaining how they keep the action in shot, and there is another handheld camera to give a wobbly "third-person" position where needed. It's cheating a bit, and the question of how and in what circumstances this sensational footage has finally been edited together is fudged. Perdita Weeks plays Scarlett Marlowe, the cutely named historian-detective, archaeologist and occult semiotician investigating alchemy – a subject on which she solemnly takes the attitude of Dan Brown rather than Ben Jonson. What we're watching is supposedly a documentary filmed as she and other badass explorers descend into the forbidden parts of the Paris catacombs to find the legendary philosopher's stone, but whose sinister paths lead to a horrid personal hell. 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.

 

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