The Descent (Lion's Gate)

July 2006

One of the better, more realistic horror offerings this summer. A screening of it was held at the San Diego Comic Con this summer (2006). This was a clever play on the title as it covered both spelunking and cave exploration - with much more detail than most films involving the same subject - as well as the human psyche, as in descent into madness. The title and story work - for the most part - although the film does have some shortcomings that caused some audience groans.

A quick synopsis of this film (hint - there isn’t a quick synopsis): Happy family and friends rock climbing expedition followed by emotionally charged accident, then a “Sex In The City” gathering and a possible lesbian liaison continuance, melding into an fame-charged cave exploration, followed by a stalking by beasties in the dark, to be continued by onset of madness, and an eventual end that may or may not lead to a sequel. Now, I should mention - as I just found out - that the film we got to see was the Americanized version. There is apparently a British version ending which is different. From what I know of both, I’m not thrilled with either one.

In some aspects, when viewing the film straight through, the story loses touch in places with what it wants to be about. The film starts off innocently enough about a group of climbers on their exalted rush to cover mountainside ground somewhere in the Appalachian Mountains. There is a definite flavoring of “Deliverance” all over this part. On the trip home, an accident takes place which takes the lives of the main character’s husband and child. Actually, it never makes their connection clear in the film, but we are to assume that that was the family connection. A year following the hospital stay and wake, the group reconvenes in what is supposed to be a memorial to the victims. Instead, it becomes apparent that this is an ego-fueled rush to test virgin ground in an uncharted underground cave. The group of women are off on a new adventure, but foolishly so as guided by a seasoned professional who cares more about fame than safety. At some points, there are hints - though not concrete - about dalliances of infidelity along with esteem issues between the girls. There is also an unusual lack of any men in the film after the beginning. But no, for you hopeful guys, there are no “side action” scenes to be had.

I will give this film kudos for giving a rather extended view into the sport of spelunking (cave climbing), and although necessary for effect, I felt that the spelunking scenes tended to get endless and redundant. As the women descend further, there are some moments of shock and claustrophobia which seem real enough. Finally the clincher to the movie happens as we see that the women are not alone. Although there were hints earlier to other people having been in the cave, the proof shows itself in the form of frightening creatures who hunt and kill anything that lives - human included (apparently a special favorite of theirs). But, living underground takes away some of the creature’s senses, giving our women the advantage - if only for a while, and only after a few losses.

The film rather louses up after the encounter with the albino creatures as it becomes increasingly difficult to tell one female character apart from the other. With enough blood and low lighting, every woman becomes a featureless mess with dark hair. It becomes a fear-factor hodgepodge where mayhem and screaming and death abound. It finally comes down to the end which is where the difference in the U.S. and U.K. versions differ. It is a “did she or didn’t she,” almost typical ending either way, opening doors for a sequel, or a heated discussion at the least. What ruined it for me was the final few seconds in the U.S. ending that we saw. Quite disappointing I would say as without it, the story would have at least made some more sense. And as it was, what is going on in the main character’s (Sara) mind can only work if it is tied in with the beginning of the film. As it is, when chatting briefly with director Neil Marshall, he didn’t seem to remember the bothersome detail from the beginning of the film either. “The Descent” could be a fantastic film, if a few other editing details were to be fixed. As it sits now, it becomes typical. The rather underrated “The Cave,” was a stronger film that made much more sense. Although one might expect “The Descent” to be a potential rip-off, production was supposedly begun before “The Cave.” My opinion would be to see both and make the decision yourself. “The Descent” works, and is a good horror film, but definitely has its flaws.

Written by Philip Anderson