As a wife and mother Sarah (Shauna MacDonald) has a seemingly idyllic life until a sudden accident rips her family away from her. That sets in motion a kind of healing reunion a year later. Her feisty friend Juno (Natalie Mendoza) and Beth (Alex Reid) convince Sarah to join a few other friends on a caving expedition--including Holly (Nora-Jane Noone) a butch caver who impulsively does whatever she wants and Rebecca (Saskia Mulder) an overly-cautious climber who needs to map out everything they do. Thing is this thrill-seeking challenge turns out to much more than they expected especially when they are trapped and suddenly notice white shadows squirming around them. Not good. The mostly unknown actresses in this scare fest are all decent in their Descent--and although grappling with one-dimensional characters the women still manage to convey the suffocating feeling of being confined in small spaces. In the dark dripping wet environ they deliver realistic reactions to the horror unfolding around them which is about as chilling as anyone can imagine. MacDonald as the long-suffering widow is a particular treat as she changes from a pitiful whiner to a kick-ass survivor who exacts revenge in different ways. Originally released in England British director Neil Marshall has handed us an appropriately creepy film which taps into primal fears--dark claustrophobic spaces things that go bump in the night--situations we usually see men deal with. So it's quite refreshing to watch women handle it especially in the way Marshall unravels the female camaraderie as expertly as the climbers tie their ropes. The Descent displays squirm-inducing violence that's not at all white-washed just because there are ladies involved. It's gory and brutal. The scariest moments are often obscured by the dark and in some scenes the film resorts to a Blair Witch Project point of view by watching the action through a camcorder. Although this Americanized version has a different ending from the British version (apparently one not so morbid) it's still far better than last year's abysmal The Cave. The Descent will definitely get your heart rate up!
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?