Backrooms

5/30/2026

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'

5/31/2026

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

5/31/2026

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.

6/1/2026

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**

6/2/2026

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 "K

6/6/2026

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 follow