As Above, So Below (2014)

As Above, So Below turns the Paris catacombs into a living nightmare you can practically smell—clammy stone, choking darkness, and history pressing in from every side—and that real-world setting gives the scares an extra jolt of credibility. It moves with the brisk confidence of a good thriller, blending quick-witted banter and puzzle-box momentum with a steadily escalating descent into dread that feels both adventurous and unhinged. Director John Erick Dowdle keeps the tension tight and the atmosphere thick, so even quiet corridors feel like they’re watching you back. If you don’t like found-footage style or prefer your horror slow and meditative, it may not be your flavor, but if you want a smart, fast-paced plunge into madness with an unforgettable location, this is an easy recommendation.

As Above, So Below is clearly trying to mash up a Dan Brown-style treasure hunt with found-footage claustrophobia, using the Paris catacombs as a creepy, history-soaked playground. The problem is the execution: the shaky-cam chaos and constant scrambling can make the geography feel pointless, and the scares lean more on familiar horror beats than real, slow-building dread. If you want clean suspense, coherent set pieces, or a payoff that feels earned rather than loud, this one may test your patience. Still, the setting is genuinely atmospheric and the occult-adventure angle is fun in bursts, so it can work if you’re happy to trade polish and subtlety for a brisk, grimy descent into madness.