Backrooms

Given how many endless, empty geometric hallways our main character had to wander through, having Justin Long’s character from Barbarian pop up with a tape measure to calculate the square footage would have genuinely made this a 5-star masterpiece.

Backrooms completely nails the atmosphere in the first half. The grainy, handheld "home video" style shots build an insane amount of tension, and making the entire environment harsh and well-lit instead of hiding in the dark is a brilliant way to capture that pure, unsettling liminal space dread. The sound design is heavy and unrelenting, but the editing kills the momentum in the second half. The audio masterfully amps up your anxiety to a 10, but the actual visual reveals completely flatten out and fail to deliver on the build-up. Still, it's a solid watch on a big screen.

Anointing a young, first-time big screen director as the new filmmaking messiah of his or her particular genre is a risky undertaking, to be sure. Does the fledgling auteur have what it takes to live up to that auspicious title? Is this an ordination that’s truly warranted? It’s serious business, both for box office tallies and artistically speaking. But does the heir apparent truly possess the skills, talent and vision to achieve success on both fronts? That’s something worth considering in light of the debut feature from writer-director Kane Parsons, the force behind this aspiring smart horror release, which is quickly being praised to the hilt and drawing huge numbers in ticket sales. However, I believe that the coronation of this new voice in the genre is far from deserved and entirely premature. While it’s true that Parsons has a keen eye for the aesthetic, that’s only half the challenge when making a movie in virtually any genre. The other part – being an effective storyteller – needs work (and a lot of it). Based on a YouTube adaptation of his immensely popular internet TV series The Backrooms, the film follows a troubled (and largely unsuccessful) seller of cheap furniture, Clark (Chiwetel Ejiofor), who’s experiencing difficulties in his personal life and professional calling. His failed marriage and inability to make use of his training as an architect have led him to seek counseling from a high-profile therapist, Dr. Mary Kline (Renate Reinsve). His progress takes a drastic turn, though, when he finds a maze of what appears to be a collection of office suites adjacent to his store’s basement – a discovery he makes by somehow walking through one of its walls. The spaces are seemingly devoid of people but haphazardly strewn with various items from his life, including his past. Has he stepped into a corporeal manifestation of his psyche? An alternate reality? Or something else entirely? That’s what he hopes to learn with the unexpected help of his skeptical s...

New unofficial Christmas movie unlocked. Far more complex than I thought it was going to be, especially considering it was a combination of trauma based creatures and a touch of sci-fi uncertainty. Overall a good watch, and incredibly impressive from such a young creative mind.

Well, that was interesting. This is a well made horror-drama released by A24 that, to my surprise, nabbed $81 million in its opening weekend. Both Chiwetel Ejiofor and Renate Reinsve give solid performances and while a few moments lost my attention, there are few great scenes particularly towards the end. Don't know where the hype came from but good for this (and Obsession) for capturing the mainstream audiences. 3.75/5

Hmmm. Perhaps I just wasn't in the mood, but I really didn't get what the fuss was about with this. "Clark" (Chiwitel Ejiofor) is a recently divorced man who has big dreams but who is reduced to running (and sleeping in) his cheap and cheerful "Ottoman Empire" furniture emporium in small town America. The electrics in his store start playing up and upon investigation he is intrigued by a glimmer of light that appears to be emenating from beneath the basement wall! Investigating, he discovers that there is a mysterious portal into a construction that has something of an Escher drawing straight from the mind of Lewis Carroll to it. He tries to explain this discovery to his sceptical therapist (Renate Reinsve) but she thinks he's lost the plot so he engages the help of two of his employees "Kat" (Lukita Maxwell) and her boyfriend "Bobby" (Finn Bennett) to film his next exploration - and that's when they discover that all in this new dimension is not so very friendly. Meantime, his shrink "Mary" makes a visit to her patient's showroom only to discover the same portal. Is she going to be daft enough to walk through the wall into the unknown? There is some attempt made at the end to tie up the spurious threads but for the most part I found this to be really quite a dull and unmenacing affair that is hand-held filmed in a style of "Blair Witch" to try and immerse us in it's mystery but that more often than not relies on increasingly hysterical dialogue and a great deal of beige paint to create some sense of menace. Kane Parsons presided over a decent idea for about twenty minutes, but thereafter is all just fizzled out into a repetitious short-story of a film that I felt was overstretched.

I'll start by saying I'm not a hater; I wanted to enjoy it, I really did. But I think some scriptwriting decisions were made that really hurt the final result. I'll begin with the scene where they discover the backrooms. While the opening scene is interesting, the scene where the protagonist finds them is not. Having a clear exit point significantly reduces the tension for him. He controls the space, he's oriented, and he doesn't seem lost or confused by having to take paths he wouldn't choose if fleeing the creature. He quickly finds his way back. This sequence evokes so little fear that the protagonist even goes back to grab a stool. (He's not afraid of the place; he controls it.) For the viewer, this provides a certain sense of reassurance, since this is the character we've been following since the beginning of the film, and he's the one we fear or worry about as viewers.

Regarding the character's development, it's true he displays a certain amount of resentment and simmering anger toward his ex-wife, but the character ultimately commits actions (decapitating Kat) that are implausible given how his psychology had been established up to that point. He isn't portrayed as aggressive, especially not toward others.

I think it would have worked better as an opening film to introduce this place through the eyes of people who had no control over the situation. Perhaps a more slasher-like approach: a group of kids who get lost, become frightened, start fighting amongst themselves, unease and distrust grow, and little by little they are attacked or killed in front of their helpless companions who do everything they can to find a way out.

The character introductions are rather slow, and this doesn't significantly change anything as the plot progresses. In addition, they explain the strange creatures before showing the "final" creature, making it more understandable for the viewer and, at the same time, much less aberrant or terrifying than it could have been. Some...

One of the few Backrooms adaptations that truly understands what made the original concept so fascinating. Instead of relying solely on monsters and jump scares, it embraces the liminal spaces, isolation, and psychological tension that defined the Backrooms from the beginning. It easily stands out as one of the best psychological horror films of the year.

This is genuinely unsettling. It's a lovely premise and it is well executed. It is creepy and unsettling and weird. It's the things you want out of this kind of horror and this movie pulls it off well. The cast is superb, the direction is great, the use of this concept and its associated effects is executed flawlessly. For what this is, it is just great.

humm well. The epilouge spoils any surprise of what the backrooms is, the therapist patient thing is kind of naff. its unclear who the main character is. I think they tied the Clark character too much to the backrooms, where it should have been its own character. some unsettling moments, but overall the writing let it down. some nice creppy surreal imagery, but the imposed story of Clark took over. Would have been better as pure horror atmosphere, where the mysteries of the backrooms reveal themselves as the characters travel through them. Clarks family drama just detracted from this. Its a pity, could have been better Im afraid.. The therapist back story was so unclear what it actually meant. I didn't really care for them.

Score: 3/10 — An Engaging Walk to Nowhere

I don't like movies that go nowhere, don't make any sense, or lack an actual ending. And Backrooms? It's the poster child for all three. I feel like I've wasted a part of my life that I will never get back... time that could have been better spent watching a different movie.

The concept is solid. Kane Parsons, the 20-year-old director behind the viral YouTube series, brings the internet's favourite liminal space nightmare to the big screen. Chiwetel Ejiofor plays Clark, a failed architect and struggling furniture store owner who discovers a doorway in his basement to an infinite labyrinth of yellow walled, fluorescent lit rooms. Renate Reinsve plays his therapist, Mary, who follows him in. The production design is genuinely impressive the Backrooms feel unsettlingly real and deeply disorienting.

But that's where the praise ends.

Having said that, the movie was engaging and I didn't realise that I didn't like it 'til the credits rolled. I was invested, the atmosphere is thick, the dread is palpable, and Ejiofor's performance is committed. The first 70 minutes deliver exactly what you'd hope: eerie corridors, unsettling silence, and a creeping sense that reality itself is unravelling .

Then the film loses its footing. The momentum shifts, the tension dissipates, and the narrative attempts to add meaning without committing to anything concrete. Clark explains that the Backrooms "misremembers" people, creating imperfect replicas of reality. The monster, revealed as a distorted, pirate costumed version of Clark himself, kills him in a moment that lands with a dull thud. Mary escapes, or does she? The final shot shows a malformed replica of Mary slumped in an interrogation chair, and we're left with ambiguity that feels more like creative cowardice than artistic choice.

It's the kind of ending that thinks it's being clever but is really just being lazy. The film offers no solutions, no rules, no answers...