Backrooms Review
I’ll admit I knew everything about Kane Parsons’ original YouTube series. Although there have been many found footage horror videos, Parsons’ videos were completely unique. They didn’t rely that much on huge jump scares or instrumental stingers to shock viewers. Rather, it was just a slow burn of a filtered VHS recording of an uncanny, yellow office space with ambient tones that caused the unsettling. There was something about cautiously walking through familiar spaces that kept me hooked. In his theatrical feature debut of Backrooms, Parsons did what he does best: dig deep into the complex, both metaphorically and literally.
Backrooms sees a furniture store owner, Clark (Chiwetel Ejiofor), who’s recovering from alcoholism finding himself trapped inside the titular dimension. Although his therapist, Mary (Renate Reinsve), doesn’t believe him, she slowly gets wrapped in the madness of it all. As both of them get trapped in this claustrophobic realm, Clark and Mary must overcome their pain and fears to escape.
From a visual standpoint, Parsons continues to show incredible confidence when it comes to atmospheric storytelling. Every set has this eerily cold aura, whether that be Clark’s unusually quiet store, Mary’s old house, or the “Complex” itself. Parsons, with the aid of Jeremy Cox’s long shot, heavy cut-centric cinematography, is able to make each set piece feel like there’s always something lurking when there’s nothing there. Backrooms sometimes keeps you at a distance to give you a sense of familiarity, but the close-ups add this unusual tension.
It also did seem like a bit of Blender, the software Parsons used for his original webseries, was used and the cuts felt surprisingly natural. There’s one scene where Clark and his assistants, Bobby (Finn Bennett) and Kat (Lukita Maxwell), are trying to go down a steep corridor that definitely felt like that was used. There’s also this one transition, reminiscent of what the teaser presented, that felt like it could have also been done in Blender. If this does turn out to be the case, I’ll be thoroughly impressed as it’s proven to be a viable tool (see 2024’s Flow for more details).
The sound blend of Backrooms also does a great job making you feel uneasy. The film heavily plays with direction: you could be hearing a recording of different languages at the far end or simply the ambient noise of the lights the next. However, it’s when Clark gets noticed by the creature where the sound editing really comes into play. It pulsates and barely has footsteps, making you wonder what this thing really is. At each turn Clark takes, it makes you think that there’s no clear intention to whatever’s hiding behind every corner. The tension increases when you realize that the main monster isn’t the only danger Clark, Bobby, and Kat have to deal with. Parson meticulously uses these audiovisual elements to the film’s benefit, which shows his keen eyes and ears.
That said, there is much more action in Backrooms than Parsons’ original webseries had. Although the opening, which sees an ASYNC agent trying to get help, is familiar territory, what Clark, Bobby, and Kat go through is certainly not. When they’re all together doing “research,” there’s a whole chase sequence throughout different rooms, all with that weird architecture, in this shaky first-person perspective. You don’t necessarily know which way Clark’s going or turning, but you hope that he’ll survive in that first half. This also goes for Mary’s chase sequence in the final act, which takes a third-person perspective instead as to truly let you see how Clark and Mary observe their worlds.
How Clark and Mary’s perspectives are formed come from the deep thematic undertaking that Parsons wants to take with Backrooms. He strategically makes us feel bad for Clark because he’s been through it all while his wife’s dreams come true. However, there are careful clues laid about, particularly through his therapy sessions with Mary, that suggest he’s deflecting blame. As for Mary, her character and story is much more lighthearted, but also steeped in mystery. Her backstory is somewhat trope-y as her crazed mother doesn’t trust the outside world for unsaid reasons. Reinsve does a stellar job showing that initial doubt and unbridled fear for her life in Mary.
Backrooms succinctly shows Kane Parsons’ incredible proficiency as a director in his theatrical debut. It’s a cautious, environmentally focused slow burn that relies on terror more than scares, which works in Parsons’ grand scheme. Ejiofor and Reinsve put on deeply layered performances that elevate the intensity of what made the original web series so terrifying. This is truly a promising start for the youngest director in A24 history.
Rating: ★★★⯪☆
Backrooms releases in theaters on May 29.
_
Christopher Gallardo is a freelance entertainment writer and critic. While not running The Reel Roller, Chris can be found writing reviews and breakdowns on all things films and TV. Outside of entertainment writing, he’s currently taking classes for a Bachelor’s of Science with a minor in Digital Media & Journalism. Plus, he loves Percy Jackson, animated films and shows, and Fallout! Follow Christopher on Instagram & X.