Kane Parsons’ Directorial Debut ‘Backrooms’ Opens Strong With 92% Rotten Tomatoes Score

Kane Parsons’ feature film Backrooms has debuted to impressive early reactions, achieving a remarkable 92% score on Rotten Tomatoes based on initial critic reviews. This marks a significant milestone for Parsons as he steps into feature filmmaking for the first time with this A24-backed horror project.

According to review aggregator data and early critical feedback, the film currently holds a 92% rating on Rotten Tomatoes from a select group of early reviews. Metacritic also reports a score of 74 out of 100, based on 12 reviews, indicating a generally favorable reception. Although the film is still awaiting a wider release, the early reactions suggest a strong start for the emerging director.

Backrooms is directed by Kane Parsons and written by Will Soodik. It draws inspiration from Parsons’ viral YouTube series created under the channel Kane Pixels, which garnered a large online following by adapting the internet creepypasta known as “The Backrooms.” The feature film expands this concept into a full theatrical narrative and is produced by A24 in collaboration with Chernin Entertainment, Atomic Monster, and 21 Laps Entertainment.

The film is set for theatrical release on May 29, distributed by A24 in the United States. Production reportedly took place in Vancouver, Canada, with filming concluding in August 2025. One of the most talked-about aspects of the production is the extensive set design, featuring over 30,000 square feet of maze-like “Backrooms” environments constructed for the film. Crew members have even joked about the set’s size and complexity, claiming that people got lost inside it.

The story centers on Clark, portrayed by Chiwetel Ejiofor, a furniture store owner and failed architect who mysteriously vanishes after falling into an endless alternate dimension filled with desolate office-like spaces. Renate Reinsve plays Dr. Mary Kline, his therapist, who becomes involved in the search for him. The cast also features Mark Duplass, Finn Bennett, Lukita Maxwell, Avan Jogia, Robert Bobroczkyi, and Krista Kosonen.

Early critical responses highlight both praise and criticism. Some reviewers have noted the film’s atmosphere, design, and ambition as standout features. Courtney Howard of Fresh Fiction described it as “a brilliant, nightmarish vision that’s beautifully claustrophobic, pulse-pounding and freaky AF.” Others have commended the scale of Parsons’ direction, emphasizing that the film successfully transforms his original internet concept into a cinematic experience.

However, not all feedback has been entirely positive. Some critics have pointed out that the film struggles with narrative clarity. Laura Clifford of Reeling Reviews wrote that it “takes a great premise and fails to build a fully satisfying narrative around it.” Similarly, Edward Douglas of The Weekend Warrior commented that it is “often more confusing and confounding than actually scary.” These mixed responses indicate that while the film is visually and conceptually strong, its storytelling may divide audiences.

Despite the differing opinions, many reviewers agree that Parsons demonstrates significant potential as a filmmaker. Dan Bayer of Next Best Picture said, “The thrills of ‘Backrooms’ may be more intellectual, but getting lost in Parsons’s world is still entertaining. I will happily go wherever he wants to take us next.”

The film’s production team includes notable figures such as James Wan, Shawn Levy, and Osgood Perkins, further enhancing its horror credentials. Parsons himself also contributed to the score alongside Edo Van Breemen, maintaining his hands-on involvement from his early YouTube endeavors.

With a strong Rotten Tomatoes debut and increasing anticipation ahead of its release, Backrooms is poised to be one of the most closely watched horror films of 2026. Its early success suggests that Kane Parsons has made a significant transition from online creator to theatrical filmmaker, even as critics remain divided on the film’s narrative approach.

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