✨Zan of Hause Glam @glamdotzan - Twitter Profile

Backrooms (🌟🌟🌟🌟) suspended my disbelief for nearly 2 hours. Kane Parsons physically brought me into the exact rooms he brought Chiwetel Ejiofor and Renate Reinsve: I was there with them, I traveled those same corridors, I walked those very hallways. That’s precisely what great Cinema does, it takes you somewhere else. It brings you in the room. The only reason I hesitate to call this an instant horror classic is because I don’t want to be considered a prisoner of the moment. But man, on last 2 or 3 occasions, Backrooms reached heights that only a few horror films have reached. At 20 years old, Parsons just blew my doors off. “It’s like describing a dog to someone who has never seen one before, and then asking them to draw it.” The opening sequence of Backrooms is without dialogue. You know nothing- you barely see anything. But the opening five minutes of this film sets the tone for the remaining 1 hour and 40 minutes or so. Parsons speaks with the camera. He opens this film by spinning you in circles around a yellowish, unremarkable room that never, ever ends. It’s one of the most interesting opening sequences I’ve seen this year. From the moment this film starts, there is no turning back. You’re hooked. We meet Clark (Ejiofor) in the early ‘90s as a failed architect, a divorced husband, and a drunk who is trying to manage a dying furniture store. We meet Mary (Reinsve) in her capacity as Clark’s therapist, trying to help Clark navigate these awful times. The crux of the story here- which I refuse to give away in full detail- is that one night, Clark discovers that a section of the wall of his furniture store is actually a portal to a vast array of secret backrooms. Basically, Clark opens Pandora’s Box. The plot essentially follows Clark (and then Mary) through these endless backrooms- all of which serve as heavy metaphors for trauma, self-pity, victimhood, and hubris. But that’s all I’m willing to give away around the plot. What strikes me so much about Parsons’ direction in this film is that Parsons, who is not even old enough to buy a bottle of wine, recognizes and appreciates that Cinema - above all - is a visual art form. This film’s dialogue is strong & engaging, but it’s borderline unnecessary. Parsons paints across such a wide canvas by deploying wide, continuous shots, altering aspect ratios, and embracing the “found footage” techniques that teleport you back to the early ‘90s. Parsons even makes great use of color scheming in this film- I found the coloring of this movie’s visuals to be utterly insane. I can’t understate how much Parsons’ direction & vision impressed me. This felt like it was directed by a person who has studied the greats- who spent hours reviewing Hitchcock, Welles, and Scorsese. The maturity in the direction is profound. Parsons’ chemistry with this film’s two leading actors- Ejiofor & Reinsve- is equally as profound. I’d like to make a claim for the world to hear at this very moment: Chiwetel Ejiofor might be the single most under-appreciated, underrated actor alive. Holy smokes this guy can act. This film is a reminder. Ejiofor’s emotional range, his physicality, and above all…his voice, are unbelievable in this film. The same can be said about Reinsve, who brings a vulnerable physicality to this film that impressed the hell out of me. The way Parsons trades off between Ejiofor & Reinsve is beautiful. These three were on the exact same page from start to finish. Backrooms, like all great horror films, crescendos to an incredible final act. The last 30 minutes of this film elevates it to another level. It’s the perfect conclusion to a movie that knows exactly where it’s going from start to finish- all of which is a credit to Parsons’ vision. I cannot wait to see what Parsons does next. I also can’t wait to see this movie again.

CinemaTweets1's tweet photo. Backrooms (🌟🌟🌟🌟) suspended my disbelief for nearly 2 hours. Kane Parsons physically brought me into the exact rooms he brought Chiwetel Ejiofor and Renate Reinsve: I was there with them, I traveled those same corridors, I walked those very hallways. That’s precisely what great Cinema does, it takes you somewhere else. It brings you in the room. The only reason I hesitate to call this an instant horror classic is because I don’t want to be considered a prisoner of the moment. But man, on last 2 or 3 occasions, Backrooms reached heights that only a few horror films have reached. At 20 years old, Parsons just blew my doors off.

“It’s like describing a dog to someone who has never seen one before, and then asking them to draw it.” The opening sequence of Backrooms is without dialogue. You know nothing- you barely see anything. But the opening five minutes of this film sets the tone for the remaining 1 hour and 40 minutes or so. Parsons speaks with the camera. He opens this film by spinning you in circles around a yellowish, unremarkable room that never, ever ends. It’s one of the most interesting opening sequences I’ve seen this year. From the moment this film starts, there is no turning back. You’re hooked.

We meet Clark (Ejiofor) in the early ‘90s as a failed architect, a divorced husband, and a drunk who is trying to manage a dying furniture store. We meet Mary (Reinsve) in her capacity as Clark’s therapist, trying to help Clark navigate these awful times. The crux of the story here- which I refuse to give away in full detail- is that one night, Clark discovers that a section of the wall of his furniture store is actually a portal to a vast array of secret backrooms. Basically, Clark opens Pandora’s Box. The plot essentially follows Clark (and then Mary) through these endless backrooms- all of which serve as heavy metaphors for trauma, self-pity, victimhood, and hubris. But that’s all I’m willing to give away around the plot.

What strikes me so much about Parsons’ direction in this film is that Parsons, who is not even old enough to buy a bottle of wine, recognizes and appreciates that Cinema - above all - is a visual art form. This film’s dialogue is strong & engaging, but it’s borderline unnecessary. Parsons paints across such a wide canvas by deploying wide, continuous shots, altering aspect ratios, and embracing the “found footage” techniques that teleport you back to the early ‘90s. Parsons even makes great use of color scheming in this film- I found the coloring of this movie’s visuals to be utterly insane. I can’t understate how much Parsons’ direction & vision impressed me. This felt like it was directed by a person who has studied the greats- who spent hours reviewing Hitchcock, Welles, and Scorsese. The maturity in the direction is profound.

Parsons’ chemistry with this film’s two leading actors- Ejiofor & Reinsve- is equally as profound. I’d like to make a claim for the world to hear at this very moment: Chiwetel Ejiofor might be the single most under-appreciated, underrated actor alive. Holy smokes this guy can act. This film is a reminder. Ejiofor’s emotional range, his physicality, and above all…his voice, are unbelievable in this film. The same can be said about Reinsve, who brings a vulnerable physicality to this film that impressed the hell out of me. The way Parsons trades off between Ejiofor & Reinsve is beautiful. These three were on the exact same page from start to finish.

Backrooms, like all great horror films, crescendos to an incredible final act. The last 30 minutes of this film elevates it to another level. It’s the perfect conclusion to a movie that knows exactly where it’s going from start to finish- all of which is a credit to Parsons’ vision. I cannot wait to see what Parsons does next. I also can’t wait to see this movie again.

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✨Zan of Hause Glam @glamdotzan

17 days ago

@whatbunnysaid I can’t stand when people funnier than me 🤣🤣🤣

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glamdotzan retweeted

bunny sanders

@whatbunnysaid

18 days ago

Imagine someone coming up to you like this and not even saying a word lmfaoooooo

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✨Zan of Hause Glam @glamdotzan

17 days ago

My social battery be so low

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✨Zan of Hause Glam @glamdotzan

19 days ago

where tf Mike Will Made It been???

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✨Zan of Hause Glam @glamdotzan

20 days ago

Lmaoooooo

FearBuck

@FearedBuck

20 days ago

A non-enhanced athlete, Hunter Armstrong, won 1st place in the Men’s 50m Backstroke at the Enhanced Games while competing against athletes using testosterone, steroids, and other PEDs.