"Backrooms" (2026): One Concept Too Many?

Where does this hallway lead?

“Backrooms” entered theaters in 2026. Clark discovers a mysterious entrance in the basement of his building. It leads to various hallways. When he disappears, Mary, Clark’s therapist, investigates for herself.

Cinema creates a whole new experience, which is what it felt like to watch “Backrooms” in theaters. “Backrooms” is an inventive storyline with stylistic and otherworldly filmmaking. With a unique story, the film bounced between concepts from what it started with.

Chiwetel Ejiofor takes on the lead role as Clark, a man who won’t let problems rest. My favorite aspect about Ejiofor’s performance is how he lurks through the mysterious hallways. It still felt like he was figuring out the character. 

“Backrooms” does the “Barbarian” (2022) trick with Renate Reinsve as Mary, Clark’s therapist. Reinsve has been a leading lady in other films, like Sentimental Value. Mary has an interesting backstory, as the screenplay hints at that I wish the film delved more into. While Reinsve delivers a capable performance, Mary never becomes as compelling as Clark. 

Clark has two employees follow him through the mysterious world, played by Finn Bennett and Lukita Maxwell. Mark Duplass also makes an appearance as a doctor. Credits also include Avan Jogia, Ember Ambrose, Krista Kosonen, and Katherine Isabelle. Robert Bobroczkyi, a 7-plus-foot-tall man, plays a nightmarish creature. 

As the youngest director at age 19, Kane Parsons went for big, and he does. Parsons first gained worldwide recognition through a viral YouTube series he created called The “Backrooms” (2022). It’s inspiring how YouTube shorts are going viral lately. It’s important to give every idea a chance in Hollywood. 

As soon as the film ended, I went and looked up the behind-the-scenes. Parsons and the filmmakers created a 30,000-square-foot set of the endless hallways. Each room had something different. Crew members occasionally got lost! In a world that is turning to AI and digital effects, practical effects make everything feel realistic. 

The film switches between cinematography and found footage. The found footage segments are easily the best part of the film. It should have remained this way, adding to the ambiguous horror. 

The cinematography by Jeremy Cox emphasized the emptiness and also a desperate search for escape. The muted yellow color palette created an unsettling visual. I was dreading what characters would find. 

“Backrooms” is a different type of horror. It doesn’t use jump scares, but rather tension as characters walk through unknown territory. Similar to how Danny Torrance rides his bikes through the ominous halls in “The Shining” (1980), every turn in “Backrooms” feels uncertain. The film embraces a dreamlike visual style that makes viewers feel trapped in this architecture.

By the time the film ended, I had mixed opinions. What starts as an alternate dimension gradually transforms into a psychological story about exploring the mind and trauma. That’s fascinating territory, but I am confused by its buildup. Multiple theories and rewatches are needed, but did we have to know what this world is? 

The film started with one concept, but then it became something completely different. It turned into more of a psychological film about how we repress memories. As much as I like psychological films, to me, the film should have remained in this ambiguous world.

The film reminded me of “Barbarian,” “Cube (1997),” and “The Texas Chain Saw Massacre” (1974). The monster-like figure at the climax was more silly than frightening. 

My opinion may differ from others, and there are several theories on the meaning. For what the film does, it’s a unique idea. "Backrooms" deserves to be viewed on the big screen before it comes to streaming.