PATRICIO MANZO

The Backrooms is a strong concept with a lot of potential. Kane Parsons makes excellent use of cinematic techniques that pair perfectly with the film’s theme, and the musical score is outstanding. Rather than relying on traditional horror, he successfully creates a sense of suffocation and unease, which works extremely well. The sequence where Clark enters with Bobby and Kat stands out in particular, capturing feelings of confusion, stress, claustrophobia, and anxiety in a way that feels authentic to what someone in that situation might experience. It also immerses the viewer, making you feel like a participant in the footage rather than just an observer. This sequence highlights the potencial that Kane has in the horror film industry.  However, as this is Kane’s first film, it sometimes feels like the ambition of the idea exceeds its execution. The concept is complex and intriguing, but it does not fully come together. For roughly two-thirds of the movie, the focus is on introducing the characters and their struggles while also building mystery around the nature of the Backrooms. Then, in the final portion, the film attempts to tie everything together too quickly and somewhat abruptly, which weakens the overall impact and left me feeling a bit disconnected.