The Descent Movies Download

The Descent is one of the best horror movies to emerge from the 2000s and featured great performances and visceral gore. The movie's ending was changed for its U.S. release, where the last survivor Sarah (Shauna Macdonald, Star Wars: The Last Jedi) has a jump scare vision of a dead friend before cutting to credits. In The Descent's original ending, it's revealed Sarah dreamed her escape and is still trapped in the cave while the monsters are heard closing in.

In recent years Neil Marshall has moved on to directing shows like Game Of Thrones and comic book movies like Hellboy, so given how lukewarm he felt about the first sequel, and his seeming hesitance toward revisiting the property, it seems doubtful he'll want to pursue The Descent Part 3. In fact, if anything he seems more interested in making Dog Soldiers 2. With the amount of time that's passed and his general lack of enthusiasm for making another sequel, it appears likely The Descent Part 3 won't be moving forward, at least not anytime soon.

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This movie, built with data collected during the European Space Agency's Huygens probe on Jan. 14, 2005, shows the operation of the Descent Imager/Spectral Radiometer camera during its descent and after touchdown. The camera was funded by NASA.

The first part of the movie shows how Titan looked to the camera as it acquired more and more images during the probe's descent. Each image has a small field of view, and dozens of images were made into mosaics of the whole scene.

Sounds from a right speaker go with the Descent Imager/Spectral Radiometer activity. There's a continuous tone that represents the strength of Huygens' signal to Cassini. Then there are 13 different chimes - one for each of instrument's 13 different science parts - that keep time with flashing-white-dot exposure counters. During its descent, the Descent Imager/Spectral Radiometer took 3,500 exposures.

The Huygens probe was delivered to Saturn's moon Titan by the Cassini spacecraft, which is managed by NASA's Jet Propulsion Laboratory, Pasadena, Calif. NASA supplied two instruments on the probe, the descent imager/spectral radiometer and the gas chromatograph mass spectrometer.

The Cassini-Huygens mission is a cooperative project of NASA, the European Space Agency and the Italian Space Agency. The Jet Propulsion Laboratory, a division of the California Institute of Technology in Pasadena, manages the mission for NASA's Science Mission Directorate, Washington, D.C. The descent imager/spectral radiometer team is based at the University of Arizona, Tucson.

I recently watched The Descent for the first time ever and I loved it so much it instantly became one of my top horror movies! I especially loved the suspenseful parts of them navigating the cave system! Does anyone have any movie recommendations like this? Thanks in advance!

Most science fiction movies are based loosely on science. Usually, this means they make a few technical or impossible leaps to move the plot forward but generally adhere to the basic laws of science. But in most cases, filmmakers are forgiven for their science-defying sins as long as the story makes up for it. In contrast, Endless Descent (aka The Rift) seems to delight in making so many impossible and incredulous scientific leaps, that they grow to a level of absurdity that transcends the believable. As such, the plot moves this movie into a category of films that are entertaining by being amusingly awful. A movie you love to hate.

Recently faddish torture-and-gore pictures zero in on anatomical violation at the expense more resonant archetypal terrors, those things that go bump in the long, dark night of the soul. Not so in "The Descent." The titular drop refers to a cave-diving expedition undertaken by six women, but it's also a breathless plummet into the abyss where nightmares are realized, a descent into primal chaos and madness.

Sports movies are among the most durable of genres, and nostalgia sequels and long-running franchises have become almost the norm for popular movies from the past half-century, but the legacy of Rocky is unique.

Branching out into new areas of your passion can be a wild experience. That was me in my sophomore year of high school. After becoming acquainted with the Alien movies, I searched for other alternatives. One day, I came across a list from a television miniseries called The 100 Scariest Movie Moments. Fun fact: the Chestburster scene from Alien came in at #2. Some of the films on that list intrigued me, especially those from Italy. In my mind, I made a note to try some of those movies.

I first found an online commentary about Zombie and decided to watch it not long after. The film immediately stunned me due to the extreme levels of graphic violence. One infamous scene involving a splinter manages to shock even to this day. Heck, I even had a barf bag nearby if things got bad. Still, my reaction to Zombie prompted me to search for other Italian horror movies.

I have barely scratched the surface of Italian horror cinema. Other movies out there are just as good, if not better. Years after my introduction, I had the urge to create some of my horror stories. More on that is coming up in part 4.

The Descent works on a lot of levels, elevating it beyond even the best of the recent horror genre fare. The film explores poignant themes of mourning and grief with Sarah, whose lingering pain over the loss of her family is shown to have dulled life around her. But being forced to fight for her life -- and the lives of her increasingly doomed friends -- brings a fire back to the woman that makes her an iconic figure in the pantheon of horror heroines and feels more in line with modern takes on the genre than the heavier resurgence of slasher and gore-driven movies that dominated the era when it was released. The interpersonal drama keeps the film grounded and compelling, as the characters find the right balance between distinct and relatable to make the dangers all the more real -- and the group is steadily picked off in heartbreaking fashion. It covers the same kind of ground modern horror movies are praised for -- and it does so while also being an incredibly effective horror-action film.

We all know how the MAV in The Martian was used by Ares crews to get off the planet but the film does not explain how they got on to it, is part of the HAB a descent vehicle? (I haven't read the book )

McCurdy says the spare-yet atmospheric look of late-1970s fright films informed his approach to The Descent. "Neil and I grew up on the same kinds of movies," says the cameraman, who cites The Goonies (shot by Nick McLean) and Halloween (shot by Dean Cundey, ASC) as the films that sparked his interest in cinematography. "The Goonies is amazing because of the compositions and camera placement, and Halloween has this graphic simplicity. Neil and I wanted that same feeling, that simplicity. We didn't want any visual clutter, just a straight-ahead look that delivered the story. There was a quality to the horror films of the late 1970s largely based on suspense; they didn't use gore, fancy lighting or overly clever camera moves, just strong images.

"Neil and I have a good shorthand," he adds, "and on The Descent, we'd often describe our scenes in terms of what Cundey and John Carpenter had done in Halloween, The Fog, Escape from New York and The Thing, which are all beautiful anamorphic pictures. Years from now, they will still be considered some of the most beautifully shot horror movies ever made."

Following two weeks of exterior location shooting in the Scottish wilderness and in London, the production arrived at Pinewood to film the caving sequences over the next five weeks. There, production designer Simon Bowles (also a veteran of Dog Soldiers) had built a warren of caverns and tunnels. "Simon and I have done a few movies together now, and he was great about letting me have input on his designs," says McCurdy. "He built much of the caves with a self-expanding foam that had a nice surface texture and could be easily cut away to allow the camera or lighting in wherever we needed it. That made a big difference."

Scientists at the University of Arizona Lunar and Planetary Laboratory (LPL) have made two new movies of the Huygens probe's landing on Saturn's giant moon, Titan, on Jan. 14, 2005.

The movies were made from images taken by Huygens' Descent Imager/Spectral Radiometer (DISR) during its 147-minute plunge through Titan's thick orange-brown atmosphere to a soft sandy riverbed. They are the most realistic way yet to experience the far-out-world landing.

The movies are being released today on , on , on and

DISR was developed with NASA funding by UA and Lockheed Martin researchers on a team headed by LPL Research Professor Martin Tomasko. The European Space Agency (ESA) Huygens probe is part of the joint NASA, ESA and Italian Space Agency Cassini-Huygens mission to the Saturn system. The probe landing was the most distant touchdown ever made by a human-built spacecraft.

LPL senior staff scientist and DISR team member Erich Karkoschka created the new Huygens landing movie and the new DISR movie.

Scientists were extremely busy analyzing data for months after the landing, Karkoschka said. They didn't have a chance to give the public a good overview of what was going on until later. "I hope the new movies help to put the different results into context," he said.

In the Huygens movie, "I wanted to show what the Huygens probe 'saw' within a few hours," Karkoschka said. "At first, the Huygens camera just saw fog over the distant surface. But after landing, the probe's camera could resolve little grains of sand millions and millions times smaller than Titan. A movie is a perfect medium to show such a huge change of scale."

DISR team member Chuck See scripted this narrated movie, "The View from Huygens on January 14, 2005," which runs 4 minutes 40 seconds. KUAT radio broadcaster David Harrington narrates. Another version is accompanied by a recording of Beethoven's Piano Concerto No. 4 performed by Debbie Hu of Yelm, Wa.

For the second, more technical movie, Karkoschka shows DISR's 4-hour operating life in less than five minutes, too. It takes some text to follow all the graphics and sidebar information that comes with this version. Click here to read Karkoschka's guide to the movie.

"DISR was a very complicated instrument," Karkoschka said. "It had to be programmed to take its 3,500 exposures in a way to get the most science. It had to decide where and when to take exposures."

DISR was designed when the best images showed Titan as a featureless, hazy disk. "We didn't know the dynamics of Titan's atmosphere very well, and we didn't know how fast Huygens would rotate and swing," Karkoschka said. "It was an extremely challenging programming task to make DISR work well under every imaginable condition."

A movie is ideal for showing how DISR worked.

For example, the first part of the movie shows how Titan looked to DISR as it acquired more and more images during the probe's descent. Each DISR image has a small field of view, and dozens of images were made into mosaics of the whole scene.

Karkoschka analyzed Huygens' speed, direction of motion, rotation and swinging during descent. His DISR movie includes sidebar graphics that show such things as: 006ab0faaa