Neil Marshall, following the success of his 2002 feature debut Dog Soldiers, initially refused an offer to make another horror film. His reasoning was that this could potentially hamper his career by associating him with a single genre, a risk he was not willing to take. Yet, he eventually changed his mind, opting to direct The Descent. This decision proved pivotal; the film was not only one of the finer genre pieces of its time but also opened the door for Marshall to participate in Game of Thrones, directing some of the series' most memorable episodes. *
The film begins with a prologue that introduces Sarah (Shauna Macdonald), a young woman who enjoys some whitewater rafting with her friends—Juno (Natalie Mendoza), and Beth (Alex Reid)—before losing her husband and daughter in a horrific car accident. A year later, she rejoins Juno and Beth on a caving trip in the Appalachian Mountains. The party also consists of newcomers Sam (MyAnna Buring), Rebecca (Saskia Mulder), and Holly (Nora-Jane Noone). The general plan is to spend the day in a large mountain cave, but things soon begin to get bad. Sarah finds the entrance blocked, and Juno admits that she brought them to a different and unmarked cave, hoping to make her name as an explorer. Consequently, the rescue party won’t be able to find them, so they have to discover their own way out with limited supplies and equipment. Holly gets injured, but soon this becomes the least of the party’s problems. The cave is apparently inhabited by "Crawlers"—strange, blind, but very hostile humanoid creatures that consider intruders as their source of food.
The Descent is notable for, and was originally advertised as one of the very few horror films to feature an all-female cast. Marshall originally envisioned a mixed-gender group before concluding that the all-female cast would work better. This might look "gimmicky" at first glance, but Marshall tried to make it realistic and paint the members of the group as very different individuals. Those efforts are partially successful. Apart from Sarah, the designated Final Girl, only authoritative Juno and rebellious Holly stand out. The Australian actress Natalie Mendoza brings a commanding presence to Juno, while the Irish actress Nora-Jane Noone, best known for The Magdalene Sisters, delivers a compelling performance as the fiery Holly. The rest of the characters are at times difficult to set apart, which is a minor flaw in the ensemble writing.
Marshall compensates for those flaws with excellent direction and very imaginative use of Pinewood studios, where the cave is made to look dark, claustrophobic, and menacing. The music score by David Julyan makes The Descent sound both old school and high class, and it helps a lot. The sound design is particularly effective, amplifying the echoes of footsteps and the heavy breathing of the characters, creating a suffocating atmosphere. The production design ensures that the setting feels lived-in and dangerous, avoiding the glossy sheen that often plagues low-budget horror films.
However, the most imaginative work is undoubtedly the design of the "Crawlers." They look grotesque, but realistic and deadly. Their design takes into account speculation about how those creatures evolved and how they maintained themselves inside the caves for such a long time. They are not just monsters; they are biological entities adapted to their environment. Marshall, in the best horror tradition, reveals them very slowly. The protagonists first see only traces of their activity, together with other hints that descending into the cave wasn’t such a good idea. This gradual build-up of tension is far more effective than a sudden, gory jump scare.
Marshall establishes a good tempo, although the beginning is relatively slow after a somewhat clichéd prologue that establishes the trauma the protagonist would have to deal with. This, on the other hand, allows the audience to familiarise themselves with the characters, the plot setting, and when the danger arrives—whether it is from the cave, its monstrous dwellers, or the party members themselves—it does so in a realistic and natural way. Marshall has obviously taken inspiration from the 1970s cinema classics like Deliverance and Jaws that take a similar approach to pacing and threat. The slowness is not boring; it is necessary for the payoff.
The Descent had two endings. The UK original didn’t have a survivor, ending on a bleak and ambiguous note that left the audience questioning Sarah's fate. The US version, however, did have a survivor, thus allowing the 2009 sequel The Descent Part 2 to be made. The choice between the two remains a point of contention among fans, with the bleak UK ending often regarded as superior for its emotional impact and nihilistic tone.
The UK premiere of The Descent coincided with the 2005 London bombings, which unfortunately hampered its advertising. Even with that setback, the film had a decent box office. It was very well-received by critics and later won Empire and Saturn awards for best horror film.
Much of that praise is deserved, and The Descent is a very good film that could please even an audience that is usually not among the greatest fans of horror genre. It respects the intelligence of its viewers and offers a visceral experience that lingers long after the credits roll.
RATING: 7/10 (+++)
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