Refusing to believe her story about cave-dwelling monsters, the sole survivor of a spelunking exploration gone horribly wrong is forced to follow the authorities back into the caves where something awaits.
Michael J. Reynolds,
Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes according to plan.
A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
A woman goes on vacation with her friends after her husband and daughter encounter a tragic accident. One year later she goes hiking with her friends and they get trapped in the cave. With a lack of supply, they struggle to survive and they meet strange blood thirsty creatures.Written by
Director Neil Marshall first chose to have a dark cave as the setting for his horror film, then decided to add the element of the crawlers, describing them as "something that could get the women, something human, but not quite". The crawlers were depicted as cavemen who never left the caves and evolved in the dark. The director included mothers and children in the colony of creatures, defining his vision, "It is a colony and I thought that was far more believable than making them the classic monsters. If they had been all male, it would have made no sense, so I wanted to create a more realistic context for them. I wanted to have this very feral, very primal species living underground, but I wanted to make them human. I didn't want to make them aliens because humans are the scariest things." See more »
(at around 3 mins) Copper water pipes wouldn't penetrate the front windshield of a car. They are too soft to do so. While they could crack the windshield, they deform to the point where they would be unable to proceed forward after cracking that windshield. They certainly wouldn't have speared the male passenger or the accompanying child through an auto windshield. See more »
[Sarah has just been scared by a bunch of bats which attacked her. Holly films the bats flying away]
[in imitation of 'The Count' from Sesame Street]
One bat, two bats, fifty bats!
[Beth comes up to her]
Holly... Fuck off
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While the credits start rolling, there is a picture of all the girls on the background. See more »
In the alternate version of the movie, Sarah escapes the cave and runs to her car. She drives down the road and stops. After vomiting out the window, she sits up and Juno, whose face is streaked with blood, is sitting right beside her. Sarah screams and the camera cuts to the credits. See more »
With Dog Soldiers, Neil Marshall created a tight and claustrophobic atmosphere then added the scares to create a very good horror film. However, the tension was often released with humour and the audience were allowed to catch their breath and relax. At no point in The Descent are you allowed to relax as Marshall grabs your attention within the first few minutes and doesn't let go until the credits roll at the end.
With the film set almost entirely underground, the lack of light is used to wonderful effect and Marshall keeps you on edge for 100 minutes; if you liked Dog Soldiers, 28 Days Later and/or Haute Tension and are sick of the formulaic rubbish being pumped out of Hollywood then The Descent is likely to be right up your street.
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