Movie review<\/h2>\n
In \u201cBackrooms,\u201d director Kane Parsons\u2019 eerie and evocative feature debut, a troubled furniture salesman stumbles upon a vast underground labyrinth of rooms that seem to expand on forever. At every turn, he finds something strange yet familiar, as if he\u2019s glimpsing a distorted version of his sad existence. Soon, he\u2019ll not only discover he\u2019s not alone down here, but the man who entered may no longer wish to exit. Instead, he may decide to stay down here awhile.<\/p>\n
This is both all you need to know about \u201cBackrooms\u201d and also only a small fraction of the dark pleasures Parsons\u2019 haunting horror film offers. In many ways, the so-so narrative, which centers on the aforementioned furniture salesman Clark (Chiwetel Ejiofor) and his therapist Mary (Renate Reinsve), is secondary to the world they get plunged into.<\/p>\n
But what an absolutely magnificently realized world it is. A triumph of cinematography, editing, production design and visual effects, you almost wonder whether Parsons may have ventured into the real backrooms to shoot his film. While his film fumbles a bit narratively, awkwardly overexplaining much of the characters\u2019 backstory, once we enter this surreal world, it\u2019s an inescapably exhilarating experience.<\/p>\n
Part a found-footage descent into the unknown a la \u201cAs Above, So Below\u201d (though thankfully much better than that), part an expansion on Parsons\u2019 YouTube shorts<\/a> exploring this same setting, and yet also something entirely new, \u201cBackrooms\u201d thrives when it comes to creating an enveloping atmosphere. This is a film where you may find yourself holding your breath as you accompany the characters as they wander farther and farther into the eerily off-yellow halls of this nightmare world. It\u2019s part of a rise in what is being loosely referred to as \u201climinal horror\u201d in cinema (think the recent \u201cExit 8<\/a>\u201d), in which otherwise ordinary spaces are made into something effectively uncanny and unnerving.<\/p>\n At the same time, Parsons\u2019 film feels inexorably tied to something like Mark Z. Danielewski\u2019s experimental horror novel \u201cHouse of Leaves,\u201d especially in terms of how the setting begins to reflect the psychological torment of the characters. It\u2019s plenty exciting, with one joyously staged chase scene that gets the pulse racing, but it also proves unexpectedly, chillingly contemplative in the final stretch. Parsons thankfully doesn\u2019t provide any neat explanation; rather, he pointedly fades a character futilely attempting to explain things into the background, dropping the very floor out from under us in a final sequence as understated as it is unsettling. In these final frames, you may find yourself wishing you, too, could stay there just a while longer.<\/p>\n<\/p><\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source www.yakimaherald.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Movie review In \u201cBackrooms,\u201d director Kane Parsons\u2019 eerie and evocative feature debut, a troubled furniture salesman stumbles upon a vast underground labyrinth of rooms that seem to expand on forever. At every turn, he finds something strange yet familiar, as if he\u2019s glimpsing a distorted version of his sad existence. Soon, he\u2019ll not only discover […]<\/p>\n","protected":false},"author":2,"featured_media":2436220,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25172],"tags":[21741],"class_list":["post-2436219","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-entertainment"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/05\/\u2018Backrooms-review-Kane-Parsons-haunting-debut-is-worth-getting-lost.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2436219","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2436219"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2436219\/revisions"}],"predecessor-version":[{"id":2436221,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2436219\/revisions\/2436221"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2436220"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2436219"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2436219"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2436219"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}