La descente

An interesting and differentiated horror movie in the "gore" style. It is above average for the genre. It started slowly, but after half it became interesting, maintaining a tense atmosphere, a little frightening and claustrophobic. The atmosphere is good. It can be divided into two parts: before and after the cave. You sit on the armchair during the exhibition with that feeling of agony and distress. It escapes from the usual clichés to the genre, having an unconventional and surprising ending. There are some logic flaws in the plot and the characters, but nothing that compromises the story. The curiosity is to see the cast practically all feminine. It's worth as entertainment. I recommend it to all lovers of horror art.

The Descent is, in my opinion, an overrated horror film. It does a great job building tension, and the underground cave setting adds a strong sense of claustrophobia and anxiety that really works. But beyond that, it feels a bit too generic. Most of the plot points are predictable well in advance, and that kills a lot of the suspense. Even the ending feels flat and expected. For a horror film, being this easy to anticipate is a big flaw. It's not bad - it's well shot and has a solid atmosphere - but it just doesn't bring anything fresh or truly terrifying to the table.

The Descent is a film that plays with the theme of claustrophobia. Effective usage of lighting. I am pleasantly shocked by how well orchestrated this film is.

Focusing on the fear of claustrophobia with the simple dread of the unknown, The Descent puts likable characters in frightening situations. As a horror fanatic, this film floats at the top of my list of best scary films in recent years. The setup feels like it moves quickly and seamlessly into the main storyline, but that's because it's so beautifully shot, well-acted, and scripted so that we know and care enough about the characters to worry once they belay down into the dark cave. This character knowledge carries weight throughout the movie, as the group variously splinters and works together to escape. Shocks and jolts start before the central scare appears. And props to an all-woman cast that feels totally natural and not slapped together to achieve cheap feminist self-congratulations. Well-acted and atmospheric, I recommend this movie to anyone wanting to see a solid, scary horror movie that doesn't reinvent the genre, but definitely strays from the norm.

Regular readers of my comments know I am interested in cinematic architecture.

There's built space of course, but much cooler is when a filmmaker deals with the non-physical: architectural fire or water. Smoke.

And then there's perhaps the hardest of them, architectural darkness. Form of the formless, containment by absence, the pressing in of the absence of light.

"Ghosts of Mars" did a bit of it, poorly, and it is exceedingly rare overall. That's why I celebrate any attempt. This isn't great, but it has some competence and lessons.

If you don't know this little film, it has a long setup period where we have a group of young women — not girls, surely — who arrange to be stranded in a cavern with a threat.

There are monsters but the threat is the dark. This isn't terrific cinematic engineering, that part all seems to be hit and miss. But it does have terrific pacing overall and that attention to pacing extends to the use of darkness and the various lighting devices they have at their disposal.

Much use is made of the point of view nature of the lighting: flashlights and cameras and even after they are gone much of the blocking uses those sensibilities. Its a subtle fold, but so very effective. It makes us see what these women do and joins us to them in terror.

There's an effective plot device that pings off this. One of our women has visions, which we follow until we have our legs pulled out from us and her. The ending has one of these — two endings — where we aren't quite sure which is real and which imagined. The idea that both are true is the most unsettling.

Ted's Evaluation -- 3 of 3: Worth watching.