Backrooms - Review: Everything Must Go

 

The ripest source of horror comes from misunderstanding. Misunderstanding leading to violence, misunderstanding leading to outrage, and misunderstanding leading to judgements have all been different sources of horror for cinema for decades. That’s why the concept of “creepypastas” (internet urban legend horror stories like haunted video games) have exploded across the internet over the last two decades. One such story came from a picture posted in 2019 of a yellowed, seemingly endless set of rooms referred to as “the Backrooms.” Young amateur filmmaker Kane Parsons took that idea in 2022 and ran with it, creating a series of found footage shorts on his YouTube channel that not only revitalized the interest in the concept, but caught the attention of A24 in the process. The result of that is “Backrooms,” a feature length adaptation of the concept written by Will Soodik (“Ash vs. Evil Dead”) and directed by Parsons himself.

The film follows struggling furniture salesman Clark, played by Chiwetel Ejiofor (“12 Years a Slave,” “Doctor Strange”), dealing with alcoholism and his recent divorce by seeing therapist Dr. Mary Kline, played by Renate Reinsve (“The Worse Person in the World,” “Sentimental Value”). In the basement of his furniture store, Clark discovers a way to step into an alternate dimension made of endless seemingly similar beige rooms, piquing his interest and leading to him attempting to map more of the space each night. But after a worrying message from Clark to Dr. Kline, she steps into the Backrooms herself to try and find him.

Given the exceptionally fluid nature of the base concept, making a film out of the Backrooms seems like a herculian task. At the very least, you need a director with a clear vision and strong hold on what this film is going to be. Parsons has that vision, and what becomes evident very quickly is the confidence on display here. His command of his cast and the script is clear and firm. As the film goes on and things get weirder, he never let's go of the people at the center of the tale, making sure that things are more effective because of the connection we’ve made with them. At no point does the film’s vision falter or feel like it’s doubling back on itself; there are no overly drawn-out explanations. Just an outstretched hand inviting you to trust in Parsons and come along for the ride.

Ejiofor and Reinsve are absolutely fantastic. Their prestige drama experiences help to elevate the script into something truly special. There are plenty of similarities to typical horror performances and protagonists, but the commitment from them on every level is what makes it special. Ejiofor is a broken man, but not one without fascinations and humor that keep him grounded and well rounded. Reinsve is equally as troubled, but in wildly different ways that make her a fascinating character to watch lose her mind in these mysterious halls. The minor supporting cast, consisting of Lukita Maxwell (“Shrinking,” “Generation (2021)”) as Kat, an employee of Clark’s furniture store, Finn Bennett (“Prisoner,” “Warefare”) as Bobby, her boyfriend, and Mark Duplass (“Safety Not Guarunteed,” “The Morning Show”) as Phil, an employee of the Async science labs, are all great as well. Maxwell and Bennett feel underutilized, an inevitability given their roles in the story, and Duplass is excellent despite his limited screentime. But they are great at what they get to work with.

Given the physical nature of the Backrooms, the film’s production design would inarguably be the most essential aspect to communicating the horrors of this world. Luckily, Parsons and his production team have nailed the aesthetic to a phenomenal degree. Each corner feels odd and unsettling, with little touches that craft a world that easily slides under your skin. Beyond the titular world itself though, little touches help the deep feeling of unease permeate through all the film. The sky constantly looks photoshopped, houses appear too perfect, and location establishing shots take on a scale model effect. Every aspect feels off, even when it's completely normal, which further injects the viewer with a deep sense of dread that bubbles over when a character steps through the wall.

The practical makeup effects are fantastic as well. Without spoiling anything, their use might seem unexpected but ends up being wholly horrific in the best possible way, without poisoning the core of the backrooms’ premise. The film’s musical score, composed by Parsons and Edo Van Breemen (“Keeper,” “The Monkey”) might just be the film’s crowning non-visual achievement, as the pair craft a musical identity that feels both beautiful and horrifying in equal measures. It plays great with the film’s sound design as large swaths of empty rooms give way to confusion and borderline hallucinatory whispers of noise.

The phrase “elevated horror” has become something of a dirty word in the film industry over the past decade or so. What started as using the genre to explore headier ideas has devolved into purposeful obfuscation under the guise of intelligence. “Backrooms” does dip its toe into a bit of that, but it is as a whole far more interested in engrossing you in the feeling of being lost and alone. Yes, there is trauma, and it is a central idea the characters grapple with. But it’s an idea used to motivate the characters, rather than a catch all explanation for the film’s central themes. Those looking for explanations in general might find themselves disappointed, but its yet another aspect of the film that further accentuates the main accomplishment: the atmosphere and the vibes.

“Backrooms” would be an incredibly effective horror film for any director, but as a debut film, it makes an exceptional impact. Its two leads are fantastic, elevating an already intriguing script and supporting cast, but the film’s technical elements are what truly put it above the rest. This is a trio of meaty production design, sound design, and musical score all blended together by a confident director who knows exactly where this world begins and ends. 4.5/5