Coming off the heels of successful film adaptations like Markiplier’s Iron Lung (2026) and Genki Kawamura’s Exit 8 (2025), Kane Parsons’ Backrooms (2026) is taking liminal space horror to the big leagues. Based on Parsons’ own semi-anthological web series and the creepypasta of the same name, the expectations for Backrooms could not be higher. For starters, Parsons finds himself as the latest YouTuber-turned-filmmaker — one who’s making his feature directorial debut at the young age of 20 with a famed distributor like A24 at his side. Secondly, the viral phenomenon surrounding his Backrooms series has garnered a large, dedicated fanbase of keen-eyed viewers who scour every frame to spot the smallest details. So, how can Parsons possibly satisfy everyone?
The answer to that question is that Parsons simply can’t. The young writer-director makes the daring yet exciting choice to frame Backrooms like a companion piece to the lore he’s created online. This horror movie adaptation could have gone in myriad directions story-wise, and so much groundwork has been laid in the YouTube series through the lucrative Async Research Institute. This is why it’s so thrilling to see Parsons make a swing with a purely original narrative… that just so happens to take place in the world he’s already established. While this might not be to every fan’s liking (since Async is barely in the film), it proves to be the best option for reeling in a wider audience.
Falling Down the Endless Rabbit Hole
Failed architect Clark (Chiwetel Ejiofor) is beginning to realize that he truly hasn’t hit rock bottom yet. Things seemingly keep getting worse in his life, as he’s now moved into his pirate-themed furniture store, Cap’n Clark’s Ottoman Empire, in Santa Clarita as a result of his recent divorce. He finds whatever solace he can in his therapy sessions with his shrink, Dr. Mary Kline (Renate Reinsve), but even those moments are fleeting as she challenges him to confront his toxic habits and alcoholic past. Somehow, dressing up as a pirate and being filmed by his only two store employees, Bobby (Finn Bennett) and Kat (Lukita Maxwell), for a TV commercial hasn’t given him the most embarrassment he’s felt lately.
Everything changes when Clark discovers a mysterious portal in the lower level of his store, which at first seems to be the cause of mysterious power outages. But once he “no-clips” into the titular backrooms — an endless, yellow-tinted dimension that oddly resembles an office space, filled with strange anomalies — his personality takes a sharp turn. Now, more level-headed than ever, Clark is determined to get to the bottom of this otherworldly phenomenon. What he doesn’t realize, though, is that his new obsession is also about to drag the few people in his life down the rabbit hole.
Backrooms Fans, Get Your Hot Takes Ready
As fans already know, there are dangers lurking at every endless corner in the backrooms. However, the threats that Kane Parsons conjures up for his feature film adaptation are unlike the entities or lifeforms previously seen in his online series. Again, this is where diehard fans may take issue with the movie. While it would obviously have been cool to see Parsons bring even more of the YouTube series’ iconography to the big screen, what he does create is thematically attuned to the characters at hand: Clark and Dr. Kline. In retrospect, this does help Parsons feel like a more well-rounded storyteller in his feature debut. Unfortunately, there is one downside to these original additions: they aren’t very scary.
It is slightly disappointing to say that nothing unique to the Backrooms movie feels as scary as what’s already gone viral from the web series. What works here was proven effective in Parsons’ initial short videos years ago. The film’s entities work better as interesting ideas than as freakishly terrifying ones, which isn’t a total negative. That being said, thanks to cinematographer Jeremy Cox — who previously shot Osgood Perkins’ Keeper (2025) and also served as the second unit DP for The Monkey (2025) and Longlegs (2024) — there is a second-act sequence that will likely stand as one of the most bone-chilling things you’ll see in a theater in all of 2026.
Chiwetel Ejiofor and Renate Reinsve Perfectly Capture the Horror of Liminal Spaces
On a few occasions, Backrooms uses a found-footage POV that emulates a VHS camcorder (since the story is set in 1990). What’s most impressive is that no analog devices were used. The effect was instead realized in post-production digitally through Blender — the same free software Kane Parsons used in his YouTube videos. It’s insane how effortless and convincing it looks on a much larger screen. Thus, it’s a shame that the effect is used minimally. It’s understandable that Parsons would want to distance his Backrooms film further from his online shorts. However, nothing in the movie comes close to being as horrifying as the aforementioned second-act sequence, which puts you through almost nauseating levels of stress and anxiety.
As for Parsons’ script, it’s admirable how many emotions he leaves for the cast to internalize and interpolate on their own rather than spelling things out. With Oscar-nominated leads like Chiwetel Ejiofor (12 Years a Slave, The Boy Who Harnessed the Wind) and Renate Reinsve (Sentimental Value, The Worst Person in the World) at the helm, not a single beat in Backrooms goes by wasted. The pair make a meal out of the world Parsons has envisioned, making each of their mesmerized, shocked, or horrified reactions feel priceless. Truly, it’s Ejiofor and Reinsve who carry Backrooms to the finish line, making up for any of the narrative’s slow pacing or purposefully vague characterizations.
‘Backrooms’ is a Promising Feature Debut for Kane Parsons
At its best, Kane Parsons’ Backrooms is as claustrophobic and nerve-wracking as his viral web series. Parsons and co-composer Edo Van Breemen (another Osgood Perkins collaborator) embellish the movie with creepy yet atmospheric synths, adding to what fans have always wanted from such an adaptation. At its lowest, though, this horror film leaves more to be desired in its scares and plotting (such as the rather simple purpose that Mark Duplass’ Async agent serves in his brief screen time). Admittedly, the bulk of these hiccups and divisive aspects stem from a risk taken or a clear decision made. And for a filmmaker as young and adventurous as Parsons, some credit is due for taking so many swings.
I mean, for a director who had established industry names like Osgood Perkins, Shawn Levy, and James Wan in line to back his first feature at only 19 years of age, it would have been easy for Parsons to phone it in when so much of his source material works so well on its own. But he didn’t, and that’s how you know he’s here to stay.
★ ★ ★ 1/2
‘Backrooms’ hits theaters on May 29!
Release Date: May 29, 2026.
Directed by Kane Parsons.
Screenplay by Kane Parsons.
Based on the Backrooms by Kane Parsons.
Produced by Kane Parsons, James Wan, Michael Clear, Roberto Patino, Shawn Levy, Dan Cohen, Dan Levine, Osgood Perkins, Chris Ferguson, Peter Chernin, Jenno Topping, & Kori Adelson.
Executive Producers: Alayna Glasthal, Jesse Savath, Judson Scott, & Chris White.
Main Cast: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell, Avan Jogia, & Robert Bobroczkyi.
Cinematographer: Jeremy Cox.
Composers: Kane Parsons & Evo Van Breeman.
Editor: Greg Ng.
Production Companies: 21 Laps Entertainment, Atomic Monster, North Road Films, & Phobos.
Distributor: A24.
Runtime: 110 minutes.
Rated R.
