The Backrooms (+ Wiki) - Level 80085: The Kiwi Farms

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I have also watched the movie and can give my thoughts in regards to both people that have seen the Kane Pixels series and know of the worldbuilding, and the general normie audience.

For those who have no idea of the lore that Kane has spent over 4 years establishing, it's a solid thriller with a resolution that that gives a conclusive "answer" to what the backrooms are. It gives a base to build off of if you only ever knew it through memes or the original context of the image, and satisfies the the most surface level analysis and you can leave your seat thinking, "huh, so that's what it is, but what was all that containment unit stuff? time to write a small novel as to my interpretation."

I'm not going to recap a 3 hour 21 minute Wendigoon vid, so if you care deeply about established lore watch this instead.
How Kane handled the bridge between those in the know and those without prior knowledge is handled very well, almost to the detriment of the casual audience since the movie is RIFE with allegories and motifs. The ocean, the sounds of a ship bracing against the wave, windchimes, the sun in splendour, the ship steering wheels. is all present. Hell, even the name and premise of the main character is in your face, but it'll take a "reputed reviewer" to make the connection as opposed to some train enthusiast who already laid it out years prior.

My only gripe is the approach to Still Life. No, not the soundtrack from the 2nd Kane Pixels channel, that's a iykyk aspect of the film which is ever present but shifted up or down during scenes. I'm talking about the theory of the Complex attempting to create human life from what it gathered.

Be in mind since this is meant for the big screen, there is no mention or allusion to the mold found in the Complex. In fact, it is absent. This is a good take for a casual audience since an endless Complex shouldn't have a singular "big bad." But with the exclusion of the mold factor, the movie heavily relies on the Still Life. And Still Life we do see.

We see it in a bombshell way when Clark investigates the Christmas tree room during a found-footage segment, which was executed in the way of a KanePixels climax. Peak.

This loses its steam as when we focus on the reunion of the main stars. Not to say it wasn't a point of tension and revelation, but for a series to have the aggressor briefly visible or flash on cam to then be background props is underwhelming. But as I reflect it only leads to theory crafting spergs as to why they act and react as they do.

As expected for a 1:50hr runtime A24 movie that leaves off in a "conclusive" way. I say "conclusive" because there's no real conclusion, the backrooms is a concept, not a complete story. But Kane is able to put a bow on it to leave casual audiences satisfied, and lore-knowers making a trillion youtube videos. It's not shallow, but at the same time would have rewatchers feast on details (THRONE ROOM HINT HINT).

It leaves off on Kane's interpretation of the backrooms, and if you're still interested after reading my sperging, it's worth it.
 
DOORSTUCK dijo:
if you care deeply about established lore watch this instead.
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I started watching some videos after seeing it and they were really getting into the weeds with details. They were presented as if I had to already be in the know about the series so I stopped, but I'll watch that one instead.

I had no expectations with it since I figured it was going to have enough in it for those that know the Backrooms but also be digestible to those that weren't, and that's not an easy thing to do. I also think horror movies usually suck because they're so cookie-cutter with how they're almost all the same with the 'scary' parts (gore, jumpscares, sound effects, found footage etc) so I was pleasantly surprised by how much I enjoyed it. The sets they were using kind of blew my mind, it was like a level editor map in a game with unfinished fucked up walls and misplaced assets that came to life in the movie. I got this impression that it was trying to bring attention to people who suffer from schizophrenia. The therapist's mom was a schizo, and because that illness is hereditary it shows her taking her own meds for it in one scene and then she gets thrown into THAT shit? Good lord, what a nightmare! Not sure if Clark was also a schizo or that his combination of alcoholism and indignant bitterness towards everyone just made him lose his mind in a self-inflicted way. The pirate demon thing threw me off and I'm still not sure why that wound up being the monster of the movie. Going off of how the ending was presented, accompanied by x-rays of brain scans, it looked like they were trying to say that the Backrooms is an allegory for getting lost in your own mind. The further you seperate yourself from the world (reality) and plunge deeper into your own made up world (backrooms) then eventually your own delusions (monsters) will kill you before you can escape. Anyone that tries to come get you will probably just wind up getting hurt or killed by you (I felt bad for the employees tbh). And the doctors at the end are less interested in 'fixing' the issue and more interested in finding out 'how it works', because there IS no fixing it. Once you're there, you're there forever, which is what that last shot hit me with before the credits rolled.

At this point I have no idea if this take can be applied to the Internet series or lore of the Backrooms, but that's my outsider's perspective from seeing the movie.
 
Path Wanderer dijo:
His fam must have had money before making the YouTube, right?
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Family making money if by being brought up in a stable household which allowed him to learn blender and create a series on youtube so viral that got recognized by a studio and gave him the opportunity to direct his craft on the big screen?

I don't mean to be antagonistic, but the man shows talent in filmmaking disregarding the movie, and in my opinion he has earned his stripes.
 
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It's a good movie. I am only tangentially aware of the Backrooms through some memes I've seen online and this movie does a good job showing off the Backrooms but not lore dumping or explaining too much things which is what caused the death of many internet horror things like SCP.

After watching the movie you never quite get how the Backrooms actually work which is great. The plot being more character focused is actually a good thing.
 
I went into this knowing about the memes but only watching one of Kane Pixels videos. While I enjoyed it, I can't tell how good it is because my screening had packs of kids that would not shut the fuck up. I like that this film is for people with working brains and an attention span. However, whenever things slowed down the iPad kids would get board and talk to echoer or say "shh" back and forth.
Is this normal when going to the moves now? This is the first time I've been the moves in a decade. I remember less noise last time and that was a Disney slop film that probably had teen and kid in the theater as well.
 
The backrooms work as an allegory for nostalgia, and maladaptive coping mechanisms, and obsession, but I think that there's another allegory that aligns with both present concerns and the implicit escalation within the world of story itself.

If obsession, and coping, and being tempted by a simplified parody of the world are what get you stuck in the Backrooms, then what does that make the Backrooms themselves? I think that it is analogous, not to the internet, but to the sorts of communities and social niches formed by the medium of the world wide web; and, via Clark, it is a study of self-coddling web "radicalization" in abstract.

Because really, Clark's a distillation of chronically online zillenial dysfunction: he's overqualified and mired in learned helplessness, his speech and behaviour runs the gamut from Incel/manosphere community member to therapy culture addict, and when he discovers a world where everything is simplified and a reflection of himself, he eventually opts to linger there, first out of desperation, but eventually he embraces it; and, when he does, he is eaten by his own parody.

Clark is every bluesky thought-police tranny, every Incels.is regular, every Facebook boomer ranting at whichever political party is opposite their own: trapped in a labyrinth, "eating" (consuming content of) parodies of other people: to an outsider this is obviously insane, but no, they're home there - and, if that outsider ever got them to really see what they've become, and they still chose to remain within, then they might as well have been consumed by their own hackneyed simulacrum.

This tracks with what Backrooms lore we got, with the Backrooms manifesting sometime in the 80s or 90s, with the number of passages into it growing over time: it loosely tracks with the proliferation of information technology, and the confusion of the Async employee in the denauement reflects the impossibility of anticipating the chaotic effects of introducing an alien communications medium to the world, and the impossibility of modeling it by sole reference to one's own experience thereof.

To end this pretentiousness with retardation, if this interpretation holds water then by the late 2000s in Backrooms world Israel, Russia, and the CIA will have mapped the general contours and use it to manipulate the public
 
Mooninite Circus dijo:
Is this normal when going to the moves now? This is the first time I've been the moves in a decade.
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You have to look at theaters as a roll of the dice. Sometimes you get obnoxious talkers, noise makers or crying baby, which is a bad roll. Sometimes you get a funny audience moment or two.

I prefer noisy teenagers as a bad roll over a guy thinking the theater is his captive audience for a standup routine and trying to get everyone to laugh at multiple quips.

The only person who "talked" loud enough in my theater was a black lady giving a loud disapproving "mm mmm girl" when the therapist walked deeper into the backrooms on first discovery. Which was funny and a good roll.
 
I do feel like it could of been more interesting (was a little bored of the yellow offices by the end) but hey its pretty much the house of leaves movie. The monsters were cool and once he left the yellow rooms I thought it was really cool. I did want far more Async and the mold though and was disappointed by that.
 
The first half of the movie was really good. I loved the camcorder bits, and everything up until the part where the entity picks of the camera was everything I hoped for. The practical set and the music where great.

The final act on the other hand was just...... ugh. Clarks sudden shift into becoming a psycho just felt off, and I thought that actually showing the entity was a terrible move, I am sorry but that thing looked ridiculous and I literally could not stop laughing. I think the whole ending chase scene could have been a lot better if they just didn't show it at all. That and the whole "subtext" to the movie is just pretentious, and I think really shows Kane's flaws as a writer (though to be fair it is his first movie), especially in contrast to some really solid cinematography and sound design.

Overall, it was a 6/10 movie for me, probably would have been more if I liked Kane's interpretation of the backrooms, but maybe thats just the /x/ in me. Also the sequel baiting was just so, lmfao.
 
I will say that I'm coming into this as someone who knows nothing about the YouTube series, and I wasn't even aware of the 4chan meme that inspired it. Overall, as an outsider, I enjoyed the movie but I didn't think it was anything spectacular. It's kind of a retard plot where all of the characters have to act retarded to progress the film, but that's a common trope in a lot of horror films.

One issue I had is I really didn't understand the nigger's motivation. I actually thought he was fucking based when he was talking to The Rapist at the beginning of the movie. But it seems the guy has money issues. So you have a magic portal door in your business, and your first thought isn't to sell tickets and make loads of money? His two assistants that went in with him, at some point you have to think they would ask if a few dollars in overtime pay is really worth this shit.
As for The Rapist, she didn't make much sense to me either. At the point where you're finding Mario 64 paintings in the furniture store, I think any reasonable person would have fucked off or alerted someone. I don't even understand why she gave that much of a fuck about a client who stopped coming to The Rapey.

Aside from the Pirate puppet monster being a retarded reveal, I think as a film the issue is that the mental health shit doesn't really seem to make an impact at all. We are told the nigger is an alcoholic, but do we ever really even see him drink? Her mother was a shut in schizo who didn't let her daughter outside, somehow I'm to believe that a seemingly endless confined space is something that this woman is going to go nigger hunting through instead of NOPE-ing the fuck out? I mean the star of the movie is The Backrooms, but the human elements and their storylines/motivations were all kind of retarded.

You could also definitely tell this was some gen alpha's idea of horror. It's very video game coded. Also someone who lived through the 90's I don't think this kid is able to recreate the feel of that decade. It is obvious in what it is, which is a Gen Alpha's interpretation of what the nineties must have been like.

The movie most put me in mind of an old Canadian horror movie called The Cube. It has been a LONG fucking time since I have watched that movie, but my recollection is they pulled off this sort of idea in a much better way. Still, Backrooms is a solid 6/10 and I can understand why people are interested. I just think they told maybe one of the more uninteresting stories that this sort of concept could produce.
 
I just saw the film last night and while I did enjoy it, I do think the plot has some holes and the characters do kind of act irrationally. It is a horror flick so I understand that characters have to get into danger but it feels like they have no survival instincts and just get lost in the sauce for no reason
I’ll give an example so spoilers
When the black character(don’t remember his name) is trying to prove that the backrooms are in fact real to his shrink, he enlists two employees to record it as proof, however instead of just showing the areas he already knows and explored them just went back, He could have easily proven his sanity. Instead he takes them to an unexplored corner, leads one down with a rope and then when the guy he let down gets attacked they all get dragged in because he placed the support right behind him. This is only one example

another is when the shrink is with the black guy in the dinner scene, And she starts yelling at him about how he can’t change and that all he does is bitch. Now mind you the black guy is holding a knife and literally just scalped a psudeo human. I was honestly shocked that he didn’t chimp out and stab her to death but just untied her.

The whole film feels like one giant episode of the backrooms which is cool if you like that but the writing feels a bit amateurish. I can’t fault the director since he’s literally my age directing a feature film so he can’t help but be inexperienced but I still gotta point it out.

Despite the plot problems, I loved the horror sequences and the atmosphere is top notch so despite my issues with the plot, I’d give the film a solid 7/10
 
Those two employees were just plot fodder. I can appreciate the stupidity to keep it from being a 3.5 hr movie.

Overall, I enjoyed the movie. 7.5/10 horror movie for me.
The "monsters" were kept until the last 3rd of the movie. It didn't harp on any contemporary issues. Clark is a black man married to a white woman but the movie never comments on that and he doesn't "act black" by any stretch.
The only thing I think was missing is part of what originally makes the backrooms creepypasta. The fact it's an never ending series of rooms that look familiar but really aren't. Where liminal spaces are stretched/skewed or just outright nonsensical. Signs of human presence with no conclusiveness. Clark mentions the vastness of it but we don't really see it but once near the end of the movie and at that point it's overshadowed by the monster element. I can forgive this missing though because the movie does end on a note that keeps you guessing. Is she really out of the backrooms?
 
piccolorizz dijo:
Those two employees were just plot fodder. I can appreciate the stupidity to keep it from being a 3.5 hr movie.

Overall, I enjoyed the movie. 7.5/10 horror movie for me.
The "monsters" were kept until the last 3rd of the movie. It didn't harp on any contemporary issues. Clark is a black man married to a white woman but the movie never comments on that and he doesn't "act black" by any stretch.
The only thing I think was missing is part of what originally makes the backrooms creepypasta. The fact it's a never ending series of rooms that look familiar but really aren't. Where liminal spaces are stretched/skewed or just outright nonsensical. Signs of human presence with no conclusiveness. Clark mentions the vastness of it but we don't really see it but once near the end of the movie and at that point it's overshadowed by the monster element. I can forgive this missing though because the movie does end on a note that keeps you guessing. Is she really out of the backrooms?
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I think she did, I think the backrooms takes people who are consumed by their demons it’s why clark gets trapped while she doesn’t. As for the ending scene I think the backrooms kind of consume the memories and identities of the people who go into them sort of like a collective unconscious. It gradually gets distorted as it misremembers over and over to the point where the original thought is unrecognizable
 
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