marisa s

*“Do I have your attention?” * *“No.”* *“Do you think I deserve it?”* The Social Network is a triumph in every aspect: Score, storytelling, vision, delivery. It’s nearly haunting the way it lingers. It takes only a half-brain cell to become completely absorbed into a dramatized tale of perhaps one of the most powerful and ultimately villainous men of our lifetime. It’s a genius film.

On my second watch, I noticed even more minuscule details that make this one of the best original works of horror in the past decade. I found myself whispering “masterpiece.”

Backrooms — in itself as a concept and in film form — is intensely claustrophobic. With every new discovery, you become stuck in this endless, worsening suffocation. It’s a place where time passes differently, and you can’t remember your name anymore for some reason. Memory can be tricky like that. It’s original, it’s extraordinary. Kane Parsons created a feature film at just 20 years old, and it will be a massive success — just as it should be. But put simply, it drags. This version of *Backrooms* doesn’t put all the pieces in correctly. There are moments where the film seems to forget it’s not a YouTube video series anymore. Maybe that’s because that’s all it should be, and maybe that’s okay.