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Theatrical Review: As Above, So Below

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As Above, So Below

The best way to explain a new movie to someone who hasn’t yet seen it is to compare it to popular, well-known movies from the past, as that quickly and easily paints a picture in the mind of a cinematic experience that hasn’t yet been experienced.

Going with that line of thinking, the best way I can describe As Above, So Below is that it’s The Goonies meets Event Horizon, fusing together the adventurous fun of the former and the mind-fuck horror of the latter.

And with that mash-up comparison, I can be pretty sure that your interest is now piqued. As well it should be.

Written/directed by brothers John Erick and Drew Dowdle, the team behind Quarantine and Devil, the awkwardly-titled As Above, So Below centers on the character of Scarlett, who is, in essence, a female Indiana Jones (Indiana… Joan?).

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A fearless adventurer on a never-ending quest for truth and knowledge, Scarlett is on the hunt for an ancient stone with untold powers, determining through much research and riddle-solving that it lies beneath the streets of Paris. Convincing a group of fellow explorers to join her, the adult Goonies head deep into the underground catacombs, discovering a terrifying secret that lies below the surface.

Yes, As Above, So Below is another in a long line of POV/’found footage’ horror movies, but the joy of the film is that it’s not quite like the others. Trading in the typical haunted house or some such other haunted location for a hellish underground cave system ripped straight out of The Descent, this particular entry in the sub-genre is refreshing enough to feel different, the unique setting impressively serving to break the inherent ‘I can’t tell this one apart from the others’ curse of found footage horror.

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The star of the show here is not the characters and it’s truthfully not even the story. While both are totally serviceable and more than get the job done, the highlight here is the underground setting of the film, which brings a whole lot of that wonderful A-word to the proceedings; ATMOSPHERE, of course.

Atmosphere is an element that’s often nonexistent in modern horror films and As Above, So Below has got it in spades, the underground caverns very much feeling like a hellish abyss that there’s simply no escape from. I’m surprised it took someone this long to make a movie about the real-life Catacombs of Paris and As Above mines that atmospheric setting for all it’s worth, imbuing the entirety of the movie with a claustrophobic creepiness that’s quite frankly a delight to be immersed in.

Immersion is really the name of the game here, with the found footage style making the film feel like a virtual haunted attraction from start to finish, all sorts of creepy shit popping up once the real horror element comes into play. I’m talking Grim Reapers, dead loved ones and even vampiric rock monsters – essentially, everything you’d hope to encounter in those glorious haunted houses that are erected in your area around Halloween time.

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While the Event Horizon comparison is thanks to the latter half’s more horrific elements, which thrust each character into his/her own personal Hell, it’s the Goonies-like first half that pleasantly surprised me, as the film is packed with a whole lot of good old fashioned adventure.

From hidden wall panels to riddles that can either kill or aid in the journey, As Above, So Below is as much of an adventure film as it is a horror film, and the fusion of the two keeps the movie engaging and entertaining every single step of the way. There’s literally not a dull moment to be found here, which is a whole lot more than can be said about most found footage movies.

Though it doesn’t exactly reinvent the POV wheel, and though the ending admittedly provides little payoff for the sheer madness that precedes it (the intended message was appreciated, however), As Above, So Below is nevertheless one of the better ‘found footage’ films in recent years, and in fact one of the better theatrically released horror films to come along in some time.

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Rather than relying on the cliches of the sub-genre to tell its story, this little gem instead tells its own story while merely using the style as a storytelling aide, the film serving as a reminder that it’s not the style that’s bad, but rather the rampant poor execution of it. It’s unique and it totally stands apart from the pack, which is plenty enough to earn a recommendation from this particular fan.

The title is silly, and I sincerely hated speaking it aloud at my local theater last night, but As Above, So Below is a pretty damn solid horror flick, well worth you calling out its name at your local theater and plopping down the money to experience it.

So buy the ticket. Take the ride.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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