What makes a horror film great?

When did critics last praise one? You’d be hard-pressed to find anything since The Ring in 2002.

I haven’t seen The Conjuring, Mama or Oculus, but people say those have potential. I thought Drag Me to Hell delivered pretty well in 2009.

But the last great one I caught in theaters was Devil in 2010.

John Dowdle directed that too. He also wrote Quarantine (2008)—another solid semi-recent horror.

As Above/So Below marks the best horror movie I’ve seen in a long time.

First of all, they shot it on-location in Paris, which delights any fan of the city. Favorite sights like Notre Dame and Sacré-Cœur pop up throughout.

The filmmakers switch between nearly every shooting style. AA/SB plays as a mockumentary about Scarlett (played by Perdita Weeks), a young archaeologist searching for the philosopher’s stone. So naturally, much of the footage comes through headlamp-mounted GoPro cams.

Although I’ve grown tired of ‘found footage,’ it functions better here. Given the lower budget, this filming style fits horror particularly well.

John and Drew Dowdle co-wrote the story—and it works.

There’s more nuance than usual. The characters rely on deductive reasoning and historical analysis to solve riddles and move through the labyrinthine catacombs.

The film layers in plenty of rebirth imagery, but I’m not sure how far the metaphor goes. Do the ribbed tunnels evoke a vaginal lining?

Dichotomies between light and dark, up and down—they provoke thought and hold attention.

The cast of unknowns delivers strong performances. Most horror films buckle under weak acting or corny moments, but this one holds up.

Apparently, I’m in the minority—AA/SB sits at 13% with top critics and 57% with users on Rotten Tomatoes.

Still, I encourage you to keep an open mind. This one’s a cut above the rest.

If you’re looking for a decent flick this weekend—especially if horror’s your thing—you could do a lot worse than As Above/So Below.

★★ ★★★ ★★

Briefer takes at IMDb & Letterboxd.