I do not wish to write with people who actively use Generative AI.
If you write with me, you won't ever have to fear any AI being used to doing my replies for you. I will not feed your writing to ChatGPT and the like, and I would appreciate it if you don't feed my writing to any kind of Generative AI either. You do not have my consent to do so.
If I reblog AI images/text or use images for aesthetics/graphics that were originally generated without realizing, please let me know. Generative AI images have infiltrated Pinterest and other sites so much, it can be hard to tell sometimes.
Okay, so I just got done watching The Backrooms movie, directed by Kane Parsons, and first, let me get the praise out of the way.
This movie was beautiful.
The cinematography was an 11 out of 10. Jeremy Cox did such an amazing job with the shaky cam and the clean shots, The way it seamlessly transitioned between the analog cameras of the 1990s and clean modern cameras for footage that couldn't realistically be captured on analog film was incredible. I cannot praise the cinematography enough for how beautiful this movie turned out.
The audio mixing was also amazing. It genuinely felt like watching your childhood fascination with the Backrooms come to life. The heavy breathing, the anticipation, the constant tension of waiting to see what happens next, it was all executed perfectly.
The acting was astonishing, and the direction was fantastic. I don't think we could have asked for better actors, and I don't think we could have gotten a better director. The fact that he's so young is honestly astonishing because, visually, this movie is a masterpiece.
Now for the critiques. Warning this is where the Spoilers will be
As I said before, I absolutely praise this movie for what it is. However, this didn't really feel like The Backrooms to me, not because it wasn't the Backrooms. The first level we enter is absolutely the Backrooms: the fluorescent lights, the yellow wallpaper, the endless carpeted hallways. It checks all the boxes.
The problem is that we never really go anywhere else.
Yes, we briefly see the pool area, but for the vast majority of the film we remain in the same yellow, fluorescent-lit environment. We don't explore other levels of the Backrooms. We don't see the strange variety that has become such a major part of the mythology. We stay on essentially one level, and to me that feels like a missed opportunity.
Maybe the movie didn't have the budget. Maybe it didn't have the time. But after watching the ending, hearing the explanations, and learning more about the monsters, it felt less like a Backrooms story and more like a critique of generative AI.
And let's get this straight: generative AI is theft. We do not support generative AI.
That said, the movie's themes of "it remembers, but it doesn't get it exactly right," combined with these humanoid creatures that are twisted approximations of people, felt very much like a commentary on AI. The creatures seem to be copying what they think humans should look like and getting it wrong.
While that's an interesting idea, it also felt like a bit of a cop-out when it came to the entities. I'm not saying we shouldn't have big, bold themes like that, but I think there was a different way to execute it.
Why not use that concept to add more lore to the Backrooms while also incorporating some of the entities fans have come to know and love from the analog horror series? It felt like the film was reaching for something really interesting, but as a longtime fan of the shorts, the lore, and the broader Backrooms mythos, I felt slightly robbed.
We stayed in one of two locations, not counting the real world, and never really explored the wider Backrooms. We didn't get references to almond water. We didn't get references to many of the iconic concepts that longtime fans associate with the universe. Not the Smilers not the Skin-Stealers...nothing which was really sad because I thought we had a great idea to use them especially in the scene where we see Clark again after the shaky cam cut, would have been an amazing way to show that entity!
Maybe I'm just too deep into the fandom side of things.
But in my personal opinion, while this movie is cinematically beautiful and visually stunning, the script could have used more work.
Iron Lung Movie Review (Spoilers will be listed under read more)
I had the pleasure of seeing the newly released film Iron Lung, directed by Markiplier. This ambitious project is especially impressive because it was entirely self funded, with Mark Fischbach stepping into the dual roles of director and lead actor. From the very beginning, it is clear that this film is a labor of passion, care, and deep respect for the source material.
Visually, Iron Lung is nothing short of stunning. The cinematography is breathtaking, making exceptional use of confined spaces, reflective surfaces, and shadowed compositions to create a constant sense of tension and unease. Every shot feels intentional. The camera work is meticulous and immersive, drawing the audience into the claustrophobic nightmare of the story. The way light and reflection are used enhances both the horror and the beauty of the environment, creating an atmosphere that feels oppressive yet mesmerizing.
The makeup and practical effects deserve special praise as well. Rather than relying on excess spectacle, the effects are grounded, detailed, and unsettling in a way that serves the story perfectly. They add layers of realism and dread, reinforcing the emotional weight of the film and elevating its horror. You can feel the care and craftsmanship behind every detail, which makes the experience all the more impactful.
The story itself is deeply compelling. For those who have played the original game or watched it being played, there is a deeper understanding of the themes at work beneath the surface. Isolation, guilt, fear, and curiosity all intertwine in a way that lingers long after the film ends. The narrative invites you to imagine what lies beyond what is shown, and that lingering uncertainty is where much of the horror truly lives.
Mark Fischbach’s performance is a standout achievement. Carrying a film of this nature is no small feat, and he delivers a performance that feels raw, vulnerable, and intensely human. It is a phenomenal acting accomplishment and a powerful demonstration of his growth as a storyteller and filmmaker.
Overall, Iron Lung is a cinematic experience that exceeds expectations. It is haunting, beautiful, and deeply immersive, proving that independent passion projects can rival large studio productions when guided by vision and dedication. This film is an absolute must watch for fans of Markiplier, fans of the original game, and anyone who appreciates thoughtful, atmospheric horror done with care and artistry.
Now for the spoilers.
This film stands as an acting achievement in its own right. The performances, both from the supporting cast and the disembodied voices that haunt the narrative, are remarkably strong. Each vocal delivery feels deliberate and unsettling, contributing to an atmosphere of relentless anxiety. Even without a traditional ensemble on screen, the performances never feel lacking. Instead, they amplify the psychological intensity, making the experience deeply immersive and emotionally exhausting in the most effective way.
One of the most striking creative choices is the film’s complete commitment to its setting. The story never truly leaves the metal tube in which the protagonist is trapped. The audience is confined alongside him, sharing in the suffocating sense of isolation and helplessness. This unbroken spatial limitation becomes a powerful storytelling tool, forcing viewers to confront the same mental and emotional pressure as the character. The environment itself becomes an antagonist, a constant reminder that escape is not guaranteed.
Throughout the film, we witness the protagonist reliving his trauma and confronting his inner demons. The psychological warfare he endures is relentless, blurring the line between memory, hallucination, and reality. His past mistakes, guilt, and fears surface repeatedly, each time eroding his sense of stability. By the final act, the narrative reaches a devastating clarity when he realizes that he has spent his entire existence placing others above himself, even those who sent him into this nightmare without knowing his name or valuing his life. This realization is deeply cathartic and painful, marking a turning point where survival becomes an act of self worth rather than obedience.
The use of the mysterious voice is particularly effective. For much of the second half, the audience is left uncertain whether the voice is real or a product of his deteriorating mind. The discovery of the broken wire intensifies this uncertainty, planting doubt that lingers even as the story progresses. When the wire later appears intact, the confusion becomes even more disturbing. At this point, the film forces the viewer to question the true cause of his unraveling. Is he losing his sanity due to prolonged isolation, or is carbon dioxide poisoning slowly taking hold, altering his perception of reality? This ambiguity is handled with precision, never offering easy answers and instead allowing fear to grow in the unknown.
The makeup work is nothing short of horrifying in the most effective way possible. As the protagonist deteriorates, we see his body and face reflect his mental decay, appearing almost as though he is rotting from the inside out. His gradual transformation into something that feels fused with the blood filled ocean around him is deeply unsettling. The makeup does not exist for shock alone. It visually reinforces the themes of decay, sacrifice, and loss of identity. Makeup artist Anna Fugate Downs deserves immense recognition for bringing this level of visceral horror to life. Without this work, the film’s impact would be significantly diminished.
The cinematography further elevates the experience. The director of photography, Philip Roy, delivers exceptional visual storytelling, particularly in scenes where the protagonist uncovers truths that were deliberately hidden from him. The revelation that he was not the first person sent into this abyss is framed with chilling restraint, allowing the weight of that knowledge to sink in slowly. The use of X ray imagery to shape lighting choices is especially inspired, creating harsh, invasive visuals that mirror the character’s psychological exposure. Near the climax, the camera movements through the thick, blood filled environment are both disorienting and mesmerizing, capturing the chaos and desperation of the final moments with haunting clarity.
Overall, this portion of the film solidifies its status as a deeply studied and thoughtfully constructed work of psychological horror. Every creative decision, from performance and makeup to sound design and cinematography, serves the central themes of isolation, exploitation, and self realization. It is a film that demands attention, challenges its audience, and lingers long after it ends.
The Halloween merch drop is absolutely one of my favorite things ever and making the siblings. Freddy and Jason has to be another one, especially knowing who was picked for Freddy.!
Where Barbie is a recovering addict this scene from Nightmare on Elm Street 3: Dream
“Alright—picture this. You’re stuck in the world’s most boring routine. Wake up, go to work, come home, stare at the ceiling, contemplate your life choices—repeat. You’re basically the black sheep of your family and the mascot for burnout.
Then one day, bam, a cop calls. Not because you’re in trouble, no, no, it’s weirder. Your estranged father, (who you’ve never met, by the way) wants to talk. Intrigued? Same. So you show up, expecting… I don’t know, therapy? Closure? A “sorry I missed your birthdays”?
Nope. He tells you, and a bunch of his other kids, that he’s sending you on a treasure hunt across the galaxy. Oh, and whoever finds his hidden treasure and breaks him out of jail gets to split it 50/50.
So do you take the deal?
Well, Kip Miller absolutely does, and what follows is chaos, lasers, and one seriously dysfunctional space family.
The Rise of Kip Miller, part of The Velvetus Chronicles by Kyle A. Keener, is out now on Amazon. <- Linked in the name.
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