When the violence comes, it is shockingly brutal. Unlike supernatural horror, Down relies on broken glass, sharp metal, and bare fists. The final act is a nasty, desperate scramble that earns its R-rating. Despite its short 81-minute runtime, Down sags in the middle. The first 45 minutes are a fascinating character study; the next 20 feel repetitive. You will find yourself shouting at the screen, "Just use your phone!"—a plot point that the film addresses but doesn’t always handle believably.
Warning: Mild Spoilers Ahead
Released as the second episode of Blumhouse’s monthly horror anthology series Into the Dark , Down arrived in February 2018 to twist the typically saccharine Valentine’s Day tropes into something bloody, awkward, and surprisingly tense. Directed by Daniel Stamm ( The Last Exorcism ) and written by Kent Kubena, the film asks a terrifyingly modern question: What if you got trapped in a high-rise elevator with the world’s most toxic date? The setup is deceptively simple. Two co-workers—the cynical, put-upon tech support guy Guy (Matt Lauria) and the bubbly, ambitious marketing assistant Jennifer (Natalie Martinez)—stay late on a holiday weekend. After a failed attempt at a romantic gesture, the two step into an elevator. A sudden malfunction sends them plummeting before the emergency brakes catch, leaving them stranded between floors. Into The Dark - Down -2018- Xem Phim
What follows is a 90-minute descent into psychological warfare. At first, it’s just uncomfortable small talk. But as hours turn into a full night, survival instincts kick in, secrets spill out, and the film shifts from a relationship drama into a brutal fight for survival. The film’s greatest strength is its two leads. Down is essentially a two-person stage play, and Matt Lauria and Natalie Martinez carry the weight effortlessly. Lauria plays Guy as a simmering pot of resentment—a "nice guy" whose politeness hides a frightening sense of entitlement. Martinez, meanwhile, transforms Jennifer from a corporate cheerleader into a sharp, resourceful survivor. Their chemistry is electric, moving from flirtatious to hostile in a heartbeat. When the violence comes, it is shockingly brutal
Director Daniel Stamm does wonders with a single location. The cramped elevator feels genuinely claustrophobic. He uses the red emergency lights, the flickering fluorescents, and the dead silence between arguments to create a real sense of dread. The sound design—creaking cables, distant sirens, the hum of the ventilation shaft—keeps you on edge. Despite its short 81-minute runtime, Down sags in the middle
If you are looking for a tense, bloody, and psychologically sharp thriller to watch (Xem Phim) on a night in, Down is worth the ride. Just make sure you take the stairs afterward.