Review: Kane Parsons' Backrooms – A Masterclass in Liminal Horror

I haven't watched a single Backrooms episode on YouTube, but my curiosity was still piqued when I heard about Kane Parsons' feature adaptation. A horror film emphasizing liminal spaces and the eerie feelings they induce is an organic, refreshing concept in a crowded genre. Finding a story and theme to complement that atmosphere was the looming challenge—not to mention the fact that this came from a first-time director with zero traditional filmmaking experience. Yet, after finally viewing it, I can confidently confirm it is one of my favorite horror films of the year.

Opening with a grainy, found-footage VHS tape, Backrooms introduces an unnamed man lost in an endless maze of rooms. The lone cameraman stumbles upon some equipment and calls out over an intercom, but no one answers. After more eerie wandering, a door clicks open and a tall, shadowy figure confronts him before the screen goes black.

Fast forward to the present day and we are introduced to Clark (Chiwetel Ejiofor), a divorced furniture store owner whose architect dreams failed. Through therapy with Dr. Mary Kline (Renate Reinsve), he tries to ease his pain. Yet he finds himself as lost as before. Life might've continued this way for Clark were it not for noticing a crack of light through a basement wall of his store. This crack of light ends up being a portal to a different dimension.

To take the base idea of eerie spaces and turn it into a fully realized film is an incredible task, and Parsons passed with flying colors. Not only are the endless rooms explored in depth, but also the psychological trauma of both Clark and Mary. With extreme satisfaction, both characters have a clear beginning, middle, and end. Where they end up in the story is completely appropriate to who they are as individuals. This emotional weight only heightens the stakes, as the danger from one door to the next is unparalleled.

Similar to the pioneers, we are diving deeper and deeper into an unknown. Exhilarating? Yes. But also, kind of terrifying! While we are given some answers to the existence of this strange place, there are quite a few questions left unanswered. Luckily for us, a sequel has already been green lit, so I expect we'll get what we're looking for.

Far and away the most impressive feat of this film is the set design. Countless rooms, halls, and spaces were built to form this lifelike labyrinth. Films like Alien, for example, would not have succeeded without those expansive sets. Additionally, I enjoyed the shaky VHS camera feed implemented when entering the backrooms. This choice adds a considerable degree of chaos when things ramp up.

One could also label Backrooms a bit of a creature feature, and its reveal is nothing short of petrifying. It's big, unworldly, and bizarre - I'd also run in the other direction. And don't forget about those creepy mannequins and dummies littered throughout each scene. Equally unsettling!

If there were a complaint it'd be the number of flashbacks that we see of Mary's life. It helps to round her character out, sure, but they were one too many. No flashbacks for Clark though, which is a bummer because I wanted to know more about his backstory. And while I do enjoy a good employment of Checkhov's gun, the use of it here feels forced and involves a piece of concrete to the head.

Ultimately, this is a story about two people trying to learn more about themselves while attempting to survive a cave of danger. The setting is so amazing that even if the story fell short it'd still be worth a watch.

4/5