Haggisboy
18-07-2006, 05:40 AM
After watching Director Neil Marshall’s The Descent, I can only wonder what has taken the movie so long to garner an international release. Due in North American theatres this August, the movie was initially released in the UK a year ago, roughly around the same time Hollywood was pushing an uncannily similar The Cave upon the cinema-going public.
Both movies revolve around a group of adventurers who get trapped in an underground chasm, only to find themselves stalked by creatures that long ago learned to live in a world without sunlight. Where The Descent comes out ahead, however, is in its refined use of characterization, suspense, and action.
As the story unfolds, a group of largely British female weekend adventurers head Stateside for a spelunking expedition to explore an uncharted cave system. As we follow their harrowing exploits in the claustrophobic underground confines we are treated to a movie that is riveting and suspenseful as the women run the gauntlet of injury and survival from perilous cave-ins and assorted other rocky dangers. In fact, Marshall, who cut his teeth (pardon the pun) on the werewolf film Dog Soldiers, probably could have nixed the creature-feature plot device, which only turns up around the midway mark of the film, and still produced a nail biter based solely on the underground exploits alone. Bringing the slimys into the mix merely serves to ratchet the already existing suspense to an almost panic-inducing level.
Sporting impressive production values, this most unusual of “chick flicks” (only because there are no male characters in the entire film) sets an impressive benchmark for modern day horror, with a fully realized story, no discernable flaws, excellent pacing, and power packed action.
In spite of all this, the studio backers have still felt the need to tinker with the film for its North American release, modifying the ending. Viewers seeking Neil Marshall’s original conclusion will likely have to wait for the DVD release, or try and catch the original UK version, which is guaranteed to produce even more post-viewing chatter.
Easily among the Top 10 horror films of the past decade.
Both movies revolve around a group of adventurers who get trapped in an underground chasm, only to find themselves stalked by creatures that long ago learned to live in a world without sunlight. Where The Descent comes out ahead, however, is in its refined use of characterization, suspense, and action.
As the story unfolds, a group of largely British female weekend adventurers head Stateside for a spelunking expedition to explore an uncharted cave system. As we follow their harrowing exploits in the claustrophobic underground confines we are treated to a movie that is riveting and suspenseful as the women run the gauntlet of injury and survival from perilous cave-ins and assorted other rocky dangers. In fact, Marshall, who cut his teeth (pardon the pun) on the werewolf film Dog Soldiers, probably could have nixed the creature-feature plot device, which only turns up around the midway mark of the film, and still produced a nail biter based solely on the underground exploits alone. Bringing the slimys into the mix merely serves to ratchet the already existing suspense to an almost panic-inducing level.
Sporting impressive production values, this most unusual of “chick flicks” (only because there are no male characters in the entire film) sets an impressive benchmark for modern day horror, with a fully realized story, no discernable flaws, excellent pacing, and power packed action.
In spite of all this, the studio backers have still felt the need to tinker with the film for its North American release, modifying the ending. Viewers seeking Neil Marshall’s original conclusion will likely have to wait for the DVD release, or try and catch the original UK version, which is guaranteed to produce even more post-viewing chatter.
Easily among the Top 10 horror films of the past decade.