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Horror films that are set underground have a tendency to play on viewer’s deepest fears regarding the potentials of what horrors could be lurking just beneath our feet. We watch in utter terror as the relative safety of sunshine becomes increasingly obscured by downward facing stairs or uncomfortably small spaces that lead to completely unfamiliar territory. Guided by only candlelight, lanterns, flashlights, or cellphones, both the characters and viewers are often completely at the mercy of extremely limited supplies and even more limited space.
If this year’s Barbarian has reminded us horror fans of anything, it’s that there’s nothing like the feeling of dread that comes as we watch characters venture deeper and deeper underground. Part of what makes the film so terrifying is the suspense that accompanies watching the door that leads to the basement close so painstakingly slowly while knowing that its automatic lock leaves each character with no choice but to go down. While Barbarian continues to terrify theatergoers, viewers itching for more explorations of below ground horror can look no further than these films to get their fix.
The Descent (2005)
Neil Marshall’s 2005 film is probably the mother of all horror films set underground. It has probably single-handedly prevented thousands of people from taking up the hobby of spelunking. The film follows a group of six women who decide to go on a cave expedition. From the comforts of our own homes, we sit as we helplessly watch tensions heighten as the women unpack their personal issues with one another while they continue to push their bodies through some of the most agonizingly small spaces.
There’s something masterful in the ways in which Marshall uses both interpersonal and external tension as a means of making the descent into the cave even more claustrophobic. Not only are the women stuck in an unknown cave system, but they’re also stuck confronting the amount of emotional baggage they have with one another. Filled to the brim with questionable shadows and wildly inconvenient lighting, this film is guaranteed to stay with you until well after the credits roll. Bonus: Be sure to catch the extended ending that was cut for its US release!
As Above, So Below (2014)
Who hasn’t dreamed of partying in the Paris catacombs? This film is equal parts adventure film and an exploration of why it’s sometimes best to just leave some shit alone. Fans of films like Indiana Jones and National Treasure looking for a horror film up their alley would love As Above, So Below’s depiction of Scarlett Marlow’s (Perdita Week) continuation of her father’s life mission to find the infamous Philosopher’s Stone.
Set in the unexplored tunnels of the catacombs beneath the bustling streets of Paris, viewers pretty quickly realize that some areas are forbidden to the public for good reason. John Erick Dowdle’s (who is also known for his 2008 American found-footage horror remake of [REC] titled Quarantine) film provides interesting lore paired with the dread that sometimes it can be just a bit too easy to drunkenly wander too far away from safety. Viewer’s will have just as much fun unpacking the mystery along with the characters as they do absolutely cringing at each red flag that goes painfully ignored.
10 Cloverfield Lane (2016)
This film begs the question of what you would do if you woke up in a stranger’s doomsday bunker while they explain to you that the world is ending. If that sounds like a doozy, that stranger is played by John Goodman whose booming voice leaves you feeling like there’s really nothing more you can do other than listen intently to what he says. In many ways, this film is undoubtedly carried by the powerhouse acting of Goodman, Mary Elizabeth Winstead, and John Gallagher Jr.
Not only does the feeling of being trapped in a stranger’s underground layer permeate this film, but observing tensions heighten to catastrophic levels as each of the characters attempts to navigate being stuck with one another manages to make the space feel even smaller. Dan Trachtenberg’s film begs the question of whether audiences or Winstead’s character should believe the man or not. After being called crazy, he does have the rather convincing argument as he exclaims: “Crazy is building the ark after the flood has already come!” Hell, maybe these bunkers might not be such a bad idea after all.
The Tunnel (2011)
Probably the most obscure film on this list is Carlo Ledesma’s under-seen Australian found-footage gem. The film follows a documentary crew lead by Natasha Warner (Bel Deliá) as they attempt to investigate a government cover-up that involves failed attempts to address the potable water crisis that plagues the country. Dealing with themes of houselessness and environmental crisis, the film is just as invested in the horrors of inequity as it is with addressing the horrors that could be lurking beneath the surface of Sydney.
At this point, things go unsurprisingly awry once the crew’s sound guy goes missing after he wanders off alone. Part of what makes this film so successful is how much it refuses to show viewers. In true found-footage fashion, the fear relies more on the implications of what can’t be seen rather than what can. Presented in a mockumentary format, viewers are given some answers while being left to wonder how the remaining members of the crew ever managed to survive.
Mimic (1997)
If audiences can expect anything when they go to watch one of Guillermo Del Toro’s films, it’s a good creature feature. As his first English language film, Mimic stays true to what the director is still most well known for to this day. From gruesome imaginings of ghostly specters to otherworldly beings, Del Toro is a master at bringing our biggest nightmares to life… even if we didn’t know they existed yet. The movie explores the repercussions that follow after a scientist’s, Susan Tyler (Mira Sorvino), effort to quell a deadly disease that predominantly impacts children. Tyler genetically engineers a species of cockroach to eradicate the source that spreads the disease.
Despite being bred to die within six months, in true Jurassic Park fashion, they found a way to extend their lifecycle and continue breeding. This chink in the plan’s armor inevitably leads to a number of problems that lead a cast of characters beneath the streets of New York City to confront their bug problem. As seeped in 90s cheesiness as this film is, the marriage between the fear of bugs and the underground is enough to get even the biggest insect lover a bit queasy. Expect lots of goop.
The X-Files: Fight the Future (1998)
Speaking of 90s goodness, it is difficult to not mention Rob Bowman’s cinematic addition to the beloved television series. The film opens up with a cold open à la John Carpenter’s The Thing where two cavemen encounter a large alien being. This thing has been on Earth brewing inevitable trouble for a long time and, thousands of years later, Mulder (David Duchovny) and Scully (Gillian Anderson) find themselves hot on the heels of yet another case that feels a lot larger than them.
Similar to Mimic, the film deals extensively with the looming threat of disease which is a theme that feels especially prescient in 2022. Though the vast majority of the film doesn’t necessarily take place underground, the climax delivers the foreboding maze-like atmosphere characteristic of these films while we watch characters continuously venture beneath the surface as they attempt to figure out what the hell is going on. If going down a ladder didn’t feel like an absolute death trap before, it surely will after watching this one.
Buried (2010)
Being buried alive is the deepest fear of many, and for very good reason. Imagine being stuck in a box as you hear dirt slowly being piled up above you while it begins to seep into the cracks of your coffin. Mostly lit by fire and the power of a cell phone, the film follows Paul Conroy (Ryan Reynolds) as he awakes in a coffin with a few items generously supplied by his captors. As he pieces together the events that lead up to his current predicament, the literal weight of his situation feels tangible as it begins to fall on both him and the viewers.
The tension in Rodrigo Cortés Giráldez’ film is palatable as oxygen levels begin to run dangerously low and time starts to get dangerously close to running out. Unlike the films discussed above, Conroy quite literally cannot move. While most horror films that take place underground provide some relief with the limited (but present) mobility of the main characters, Conroy is left completely at the mercy of those searching for him. He can only hope that they can manage to get there on time.
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