An immense challenge has been posed upon cinephiles recently; discuss something other than Curry Barker’s Obsession or Kane Parsons’ Backrooms. This challenge has repeatedly been failed. Following 26 year-old Barker’s unprecedented success with his sub-$1million budget debut film, social media has been ferociously buzzing with anticipation for 20 year-old Parson’s web series sci-fi horror to make its big screen debut. Under the channel name Kane Pixels, Parsons’ has delivered YouTube audiences with high-quality videos offering his take on the ‘creepypasta’* of the same name.
*Not a terrifying form of spaghetti, but short horror-related stories created online.
This series debuted in January 2022 with ‘found footage’ exploring this eerily familiar location, a seemingly liminal and never-ending sickly-yellow maze. Over the years, new lore has expanded his iteration, revealing elements of time-travel and paranormal monsters known as ‘entities’. Naturally, these short videos and easy-to-theorise circumstances house millions of views, earning Parsons’ an official meeting with A24 at just 16 years-old to discuss the, literal, bigger picture. One that ultimately led to Hollywood funding for an official Backrooms movie.
Parsons faces a significant challenge in appealing both cinematic audiences and fans of his original web series. Pressure is mounted on delivering an immersive and unsettling experience that justifies this leap into Hollywood, whilst not losing the series’ renowned charm. On a $10 million budget, and compromised with a cast of Chiwetel Ejiofor (12 Years a Slave), Renate Reinsve (Sentimental Value) and Mark Duplass (The Morning Show), Kane Parsons’ proves his doubters wrong. Backrooms arrives as a chilling achievement in modern-horror, one that redefines the scope of original storytelling and warrants future exploration. Given the captivating grip Backrooms possesses on viewers, it is fascinatingly easy to forget this is a directorial debut, nevertheless one by a 20 year-old, only serving as a testament to Parson’s thrilling vision.
The easier route for A24 involved replicating the narrative of Parsons’ famous webseries. One that has garnered generous acclaim over the years for the slow-burn approach that introduces drops of lore every few months. And yet, in hopes of cultivating a new audience, Backrooms delivers an entirely new experience that leaves behind Parsons’ previous canon. Cinema-goers instead follow failed architect and down-on-his-luck furniture salesman Clark (Chiwetel Ejiofor), who seeks direction and purpose from his therapist, Mary (Reante Reinsve), in the midst of his alcoholism and divorce. When Clark discovers a dimension beyond reality in the sub-level of his store, he aims to uncover its secrets, but accidentally explores the psychological horror of the unknown.
Backrooms excels in intensifying the pressure of claustrophobia through anxiety-fuelling cinematography, almost strangling viewers inside this harrowing atmosphere. Clark’s exploration of the Backrooms, and the narrative’s alluring ambiguity utilize the VHS-styled found footage approach to capture unpredictable tension. A highlight that lingers long after the credits roll and delivers the uneasy sensation horror fans crave. Never is time within this ghostly realm dull or comfortable, as every turn offers the threat of danger mixed with a magnetically unwelcome familiarity. The lack of an imposing score, instead utilizing more subtle undertones, sows seeds of nervousness before harvesting its reward, even in the safety of the ‘real’ world.
Given both are Academy Award nominated actors, it’s no surprise Ejiofor and Reinsve perfectly embody the struggles of their characters, or as much as an occasionally weak script makes possible. Throughout the film’s runtime, Backrooms demands accountability from both Clark and Mary to varying degrees, infusing a parallelity that hurtles towards a satisfactory, albeit rushed, ending. However, the 110 minute-long journey to this moment is transfixing, captivating, or perhaps even enchanting – any word you could use here works. Backrooms leans into themes of guilt and stagnation with a small cast, forcing these characters to confront their mistakes and attempt to break free from their self-imposed loops. Elements of this are uncomfortably relatable and thrive in simplicity, forming a palpable anxiety assisted by the presence of violent entities that occupy the realm.
Very few directorial debuts are perfect, and Backrooms carries a handful of flaws that are coincidentally common faults from some of the film’s producers; James Wan (Saw), Shawn Levy (Deadpool & Wolverine) and Osgood Perkins (Keeper). In anticipation of the film’s dramatic climax, Backrooms sprints from second to third act with a disappointing time jump that abstains from exploring a stirring psychological demise. Whilst also holding back on offering details of the Backrooms lingering questions, until an all too brief conclusion with Duplass’s Async agent. Understandably, Parsons wants to reserve lore for any future adventures, similarly to the approach within his Youtube series, but ultimately jumps to an ending that is only mildly satisfying, lacking a substantial piece of chemistry that clicks the final puzzle together.
Earlier scenes with store employees Bobby (Finn Bennett) and Kat (Lukita Maxwell) deliver one of Backrooms best sequences, but their involvement outside this is too minimal to continue this energy. By no means does this dismantle the Backrooms magic, but it does conclude overly restrained, especially when a sequel greenlight is never guaranteed. Making Backrooms feel somewhat like half of a film, or at least, a Part 1 of 2. However, if the Backrooms webseries is anything to go by, possible future endeavours in this world will rectify any shortcomings here, and land a masterful viewing experience.
Overall, Backrooms arrives as a mighty achievement for Kane Parsons, as well as A24 who took a respectable gamble on the first time director. Audiences can expect edge of their seat thrills and tension that fills cinema screens, all coated in a delightful mystery that will undoubtedly drive significant traffic to Parson’s Youtube series from viewers who want more. Whilst his self-control to prevent over-indulgence is impressive, and debatably why the majority of the film clicks so well, in any future exploration of the Backrooms a better balance of new questions-to-answers is desirable. Alas, Backrooms will no doubt be recognised as a great addition to the library of modern horror, guaranteed to influence the genre going forward.
