Refusing to believe her story about cave-dwelling monsters, the sole survivor of a spelunking exploration gone horribly wrong is forced to follow the authorities back into the caves where something awaits.
Michael J. Reynolds,
Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes according to plan.
A woman goes on vacation with her friends after her husband and daughter encounter a tragic accident. One year later she goes hiking with her friends and they get trapped in the cave. With a lack of supply, they struggle to survive and they meet strange blood thirsty creatures.Written by
The neon lightsticks seen in the film were purchased from an adult toy shop. See more »
In the first tunnel, when the camera follows one of the girls climbing in it, you can clearly see the wheel marks of the camera on the ground. See more »
Sarah... don't leave me like this.
No. Please don't ask me to do that.
I can't. I can't do that. I can't do that.
OK. Shh. Close your eyes.
See more »
The creature's snarling sound can be heard at the end of the credits. See more »
In the alternate version of the movie, Sarah escapes the cave and runs to her car. She drives down the road and stops. After vomiting out the window, she sits up and Juno, whose face is streaked with blood, is sitting right beside her. Sarah screams and the camera cuts to the credits. See more »
With Dog Soldiers, Neil Marshall created a tight and claustrophobic atmosphere then added the scares to create a very good horror film. However, the tension was often released with humour and the audience were allowed to catch their breath and relax. At no point in The Descent are you allowed to relax as Marshall grabs your attention within the first few minutes and doesn't let go until the credits roll at the end.
With the film set almost entirely underground, the lack of light is used to wonderful effect and Marshall keeps you on edge for 100 minutes; if you liked Dog Soldiers, 28 Days Later and/or Haute Tension and are sick of the formulaic rubbish being pumped out of Hollywood then The Descent is likely to be right up your street.
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