Story: A horror film inspired by the popular internet phenomenon of the same name.
Review: Few recent horror films have arrived with as much curiosity surrounding them as
Backrooms. Expanding a viral internet concept into a feature-length production is a difficult balancing act, and the film only partially succeeds. What it lacks in narrative momentum, however, it often makes up for with atmosphere, visual confidence and a strong sense of identity. Director Kane Parsons continues to demonstrate the filmmaking instincts that first attracted attention online. The film is at its best when it trusts its visuals and sound design to do the heavy lifting. Rather than overwhelming audiences with exposition or constant scares, Parsons allows tension to build naturally, creating a lingering sense of unease that remains effective throughout much of the runtime.
The performances help ground the film’s more abstract elements. Chiwetel Ejiofor brings a welcome sense of gravitas and emotional authenticity to the material, giving even quieter moments weight and credibility. Renate Reinsve delivers a committed performance that captures the emotional demands of the story with conviction and restraint. Mark Duplass makes a strong impression in a brief supporting role. The cast collectively understands the tone Parsons is aiming for. Nobody overplays the material, and the performances remain believable even when the film ventures into more unusual territory. That restraint proves valuable in helping the audience stay engaged with the experience.
Visually,
Backrooms is easily at its strongest. Parsons has a talent for composition and atmosphere, transforming ordinary environments into something deeply unsettling. The production design and cinematography work together effectively, creating images that linger in the memory long after the film ends. The sound design deserves similar praise, often generating tension more successfully than the screenplay itself.
Where the film stumbles is in maintaining the same level of engagement throughout its runtime. Some sections feel repetitive, and the pacing occasionally slows enough to weaken the suspense that the film works so hard to establish. While the atmosphere remains strong, the narrative doesn’t always provide enough momentum to support a feature-length format. Even so,
Backrooms remains an interesting and distinctive horror film. It may not fully realise the potential of its premise, but its craftsmanship, performances and visual imagination make it a worthwhile watch.