The Descent (2005): Review by Motion Picture Maniac
It’s actually kinda difficult, as of beginning to write this blatant gush, to put into words exactly why I love The Descent as much as I do, aside from it simply being a great film in its own right. As of writing this review, Halloween is imminent, tomorrow in fact, and what film would be better to review than one of my all time favourite horror movies, one that I’m yet to see someone review in honour of Halloween; despite being one of the most terrifying movies ever made in my opinion.
A group of women head out into the wilderness to go cave diving a year after one lost her entire family to a car accident. A rock slide occurs, trapping them underground, and as they try to feel and squint their way through the pitch black tunnels towards some kind of secondary exit, that may not even exist, it becomes very apparent that this cave system also functions as a home for a pack of deformed monstrosities hell bent on gobbling them up. Just when you think being stuck in a maze of caverns and underground tunnels is enough to send you around the twist Mother Nature also sees fit to send the ugliest motherf*ckers on earth to rip you limb from limb; just for good measure.
I first saw The Descent at a time when it just so happened to tick every box I had ready and waiting for a new horror film, as a teenager horror movies were my primary thing (in a feeble and incredibly stupid attempt to seem cool at school) but I didn’t just want any old straight to DVD or generic nonsense, no I wanted something good and for the horror film genre that’s a pretty rare happening. Oh but I was one fussy little sh*t, during childhood I developed an obsession with monster movies, one that carried over into later life, and being young I was frustrated with all the “unseen threats”, potentially cool looking monsters that were constantly kept in the shadows or behind whatever.
Being older now I know that is indeed the better way to go, as what’s scary is what we imagine, not what we can simply gawk at, but back then I wanted a monster I could look at, stare at, but I was setting an impossible task because I also wanted it to be scary; hard to achieve if you’re just going to show it like that. But then along came The Descent, the movie that cracked the code, achieved the impossible, that got away with showing the monster and managing to be utterly terrifying at the same time; it broke the rule and is much better for it. Even into adulthood I find it very scary, so it hasn’t lost its touch or proven it never had one since I was so naive back in the day, in fact, watching it with older and wiser eyes; I do not hesitate to call it one of the greatest horror films of all time.
Even without the monsters the film has a nerve shredding tone, the opening car crash blasts your system to pieces and never lets you piece it back together again – a film in which a child dies in a car accident? I hadn’t seen to much of that before this. Shauna Mcdonald plays her character as not having gotten over it, even as the film skips a year, which sounds realistic enough, who the hell would get over losing their entire family within a single year? But in movies people often get over traumatic experiences rather quickly, and with The Descent’s very cold and autumn-like colour scheme and contrast, one can’t help but feel very uneasy seeing the character Sarah continue to appear as though it only happened last week.
That’s something more than a little under appreciated about this movie, despite knowing full well what it wants to achieve and never straying away from the appropriate simplicity of its plot, Neil Marshall never once forgot that these need to be characters to like and root for. It’s an all female cast without a single stereotype or outdated but atypical trope in sight. We have our hero who starts off uneasy about the whole thing and a tad useless (but never unsympathetic) before literally being reborn in blood and becoming very capable, there’s the one we don’t quite trust, the hero’s one and only hope for sanity who watches out for her (and doesn’t last too long); I mean this so easily could’ve been your run of the mill monsters in a cave movie but we have actual characters running around I legitimately care about – that and… the crawlers.
The crawlers just might be my favourite movie monsters, looking like wax dummies of Gollum on a meth binge that came to life with a hunger for flesh, there’s an uncanny valley feel to what little human features they have left, making them very scary to look at indeed. Like I said before, this movie broke the rule and got away with it, in this instance it isn’t what we don’t see but what we are allowed to have a good close-up look at that makes us fear for our hearts bursting, Marshall handled these beasties like a chemist conducting something dangerous, he gave one million percent effort to every single scene in which even only their presence can be felt.
The sounds they make are what keep us awake in a cold sweat as we try to sleep at night, their faces are what we never hope to see waiting for us in the dark, they’re often shot with a sped up frame rate, a tool I always find effective in horror, that gives their movements a very spider-like feel and they sometimes even interact with the camera, looking right into or coming straight for it; making us feel they’re coming for us. That’s why they work so well and succeed in being truly scary, every shot showing them feels thought over and carefully crafted, like Marshall has horror down to a science, he never just throws them onscreen, every time the show up its like the first time we see them; even when they’re not there we know they’re not too far away.
It’s funny because you almost don’t need the crawlers at first for the film to be effective, it’s dark tunnels and caves give even someone like me, who must be as far away from claustrophobic as you can get, the chill that gives your spine a good… crawling. When they do make their grand appearance I was surprised they don’t actually show up to cause trouble until roughly the last half hour or so and it’s a bloodbath, quite literally a bloodbath; the kind of lair I would rather die than wake up trapped in. The set design and lighting complement each other very well, making you feel not just trapped but in somewhere you absolutely don’t want to be trapped in.
That’s something the sequel really failed to do, the lighting style consisted of little more than having everything be pitch black and having the characters hold a very minimal light source and I can’t recall many movies presenting darkness to quite that extent. One thing to note is how little time there was to make the damn thing, sets are reused a number of times for different locations but you can never tell, there’s a two on three fight scene at the end that could only be shot in one single day and it’s better than most films allowed to shoot theirs in a week; every time I see it I can never tell where there’s any kind of compromise.
Then there’s the fan theory about a particular hidden subtext, especially regarding the film’s uniquely bleak ending. What can I say except that I absolutely love this theory, it is said that, in actuality, there are no crawlers, that Sarah has lost her mind and murdered all of her friends, something else that makes this film that tiny bit more special – you can think about it too, more than you can say about most other creature features. I could go on folks, I really could, The Descent was my dream movie as a teenager and now, as an adult, it’s just one of the best horror films ever, for me it’s perfect, the outstanding lighting and cinematography that create genuine uneasiness, the characters you actually like and don’t want to see die, the fantastic handling and presentation of its monsters that succeed in being very scary, extreme gore, relentless violence and a very interesting subtext; this is a movie I cannot live without.
Author: Motion Picture Maniac
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