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 shrink. And what will that be? The film’s opening half capably sets the scene, creating a legitimately sinister sense of creepiness. However, about midway into the picture, it becomes repetitive and directionless, as if it’s searching for what to do next. That’s where this offering goes off the rails, turning inexplicable, underdeveloped and outright goofy at times. The alleged scariness of this would-be psychological thriller vanishes, turning tedious, silly and more laughable than frightening. And a last-ditch effort to take the narrative in a redemptive direction involving a mysterious scientific research organization only muddies the waters further, doing little to salvage what has already fallen apart. Many have likened this release to a video game with a protagonist trying to solve the puzzle of the story. Others have said that it’s full of nuanced references to the YouTube series, although that would require an intimate knowledge of the source material to fully appreciate it. And others still have postulated a host of other interpretations given the inherently vague nature of the finished product. For my money, even though it starts out well, it turns into an incoherent cinematic mess that fails to hold attention and left me sighing a big “So what?” What became most apparent to me while sitting through this is just how difficult it is to create an engaging smart horror film, a genre I enjoy immensely but has been plagued by more failures than successes, with this one being yet another entry on that list of disappointments. Indeed, don’t be too quick to reach for that crown just yet. If the filmmaker hopes to assume that title, he’s still got his work cut out for him, beginning with an urgent need to get out of his own “Backrooms.”

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 things are "planted" in the film, but I think they're underdeveloped, perhaps in anticipation of a sequel or turning it into a saga. I consider this reasonable given the potential of the original idea, but at the same time, I don't think it's the best introduction for viewers unfamiliar with this "universe." That said, I'll add that the version on YouTube seemed a thousand times better; it creates a more disturbing, confusing, and interesting atmosphere than this film. I hope many of you enjoyed it, but for me, it wasn't even half of what I had hoped for. It fell short.

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.