Translating an internet legend to the big screen is a huge challenge, but A24 and director Kane Parsons managed to nail the creepy aesthetic of the famous "Backrooms." By relying heavily on practical effects rather than just green screens, they made the endless yellow maze feel incredibly real, dirty, and deeply claustrophobic. The visual design is the true star here, perfectly capturing that weird liminal space vibe…

This movie held my interest, though the final section left me puzzled; I didn’t quite grasp what happened and would have preferred a clearer resolution. It just needed to be more understandable, really.

Despite featuring some genuinely impressive moments and what is likely among the most elaborate sets seen in recent films, the film's deliberate slowness and stretches of dullness prevented me from finding it enjoyable.

This turned out to be a really solid movie. I initially expected something scarier, but it leans toward psychological thrills rather than relying on sudden frights. It’s the kind of film that prompts some serious reflection about the capabilities of the human mind. I would absolutely recommend seeing it. The script is strong and the performances are quite good too.

I thought it began promisingly, but then it just became strange, or at least that’s my impression. The premise held some appeal, however, the pacing felt surprisingly sluggish and I gradually stopped being engaged with what was happening.

This film earns a 3/10 rating. It might have been better received if presented as a short online video. I don’t understand why some critics describe it as "faithful" or claim it avoids jump scares, because that's not entirely true; it feels very much like a typical horror movie from A24. That isn’t to say the production quality is poor, but it’s clear this was created by and intended for audiences familiar with ga…

I really dislike films that don’t go anywhere, make no sense, or simply lack a proper conclusion. And *Backrooms*? It's practically the definition of all three. The feeling lingers that I’ve lost some irreplaceable time... moments that could have been better used watching something else entirely. The premise itself is promising. Kane Parsons, the 20-year-old director known for his viral YouTube series, brings this…

It’s true that the ending gives away the nature of the Backrooms, which diminishes any sense of discovery. The dynamic between the therapist and patient felt a bit awkward. It wasn’t entirely clear who should be considered the central figure in the narrative. I feel like they made Clark's connection to the Backrooms too significant; he seemed better off as an independent character. There were definitely some disturbi…

I found this to be truly disturbing. It has a promising foundation and the filmmaking itself is strong. There’s an unsettling, strange quality to it that works really well for the horror genre, and the movie manages to deliver on those expectations. The performances are excellent, the direction is impressive, and the concept along with its visual elements are handled perfectly. Considering what it sets out to do, it'…

This is among a small number of adaptations of the Backrooms that really grasps what initially made the idea so captivating. Rather than depending mainly on creatures and startling moments, it focuses on the unsettling environments, feelings of being alone, and mental strain that were central to the original Backrooms concept. As a result, it’s readily apparent why this is considered one of the strongest psychologica…

I want to be clear that I went in wanting to like it, and I truly did. However, some choices made during the writing process really held back how good it could have been. Let’s start with the scene where they find the backrooms. While the initial setup is intriguing, the moment the main character discovers them just doesn't work as well. Having a clear way out immediately lessens any tension he might be feeling. H…

It's possible my timing was off, but I honestly didn’t see what the excitement was surrounding this one. "Clark," portrayed by Chiwetel Ejiofor, is a man recently separated who harbors significant aspirations, yet finds himself managing his modest and somewhat charming “Ottoman Empire” furniture shop in a quiet American town. When electrical issues arise within his store, an investigation reveals a strange light comi…

It was certainly something. This horror-drama from A24 exceeded expectations, pulling in $81 million during its debut weekend. Chiwetel Ejiofor and Renate Reinsve both deliver dependable performances, and although I occasionally felt a bit disconnected, the film contains several truly memorable sequences, especially as it progresses. I’m not sure what fueled all the buzz, but I'm glad this one—along with *Obsession*—…

I discovered an unexpected new holiday film. It turned out to be surprisingly intricate, particularly given its blend of beings rooted in traumatic experiences and elements of science fiction ambiguity. I consider it worthwhile viewing, and the accomplishment is remarkable coming from someone so young.

Elevating a new director to the status of a genre-defining visionary is always a gamble. Does this up-and-coming filmmaker truly possess the skills to live up to such praise? Is it really justified? It’s a significant decision, impacting both financial performance and artistic merit. But does this potential successor genuinely have what it takes to succeed in all aspects? That's something worth considering when evalu…

The sheer number of repetitive, featureless corridors the protagonist traverses almost begged for Justin Long’s character from Barbarian to appear, armed with a tape measure to assess their area – that would have elevated this to a perfect score. Backrooms successfully establishes its unsettling atmosphere initially. The shaky, amateurish “home video” aesthetic creates considerable suspense, and choosing to portra…