BACKROOMS: Everything Must Go Edition with Bonus Footage

THIS IS THE TYPE OF SUPERNATURAL THRILLER THAT WILL ENTERTAIN PEOPLE ON THEIR FIRST VIEWING, BUT I DON'T THINK THAT PEOPLE WILL WANT TO REVISIT IT THE WAY THAT THEY HAVE DONE WITH CLASSIC THRILLERS LIKE "PSYCHO," "REPULSION," "ROSEMARY'S BABY," & "THE EXORCIST." I SHOULD POINT OUT THAT DIRECTOR KANE PARSONS HAS SHOWN REMARKABLE TECHNICAL SKILLS FOR SOMEONE WHO IS ONLY TWENTY. WE SEE THIS IN THE FIRST SCENE BETWEEN CLARK (CHIWETEL EJIOFOR) & HIS THERAPIST, MARY (RENATE REINSOVE). WHEN MARY FIRST ADDRESSES CLARK, WE SEE HIM IN A LONG SHOT, BUT, WHEN MARY STARTS TO ASK MORE PERSONAL QUESTIONS, WE SEE CLARK IN CLOSE-UPS, & THE STERN LOOK ON MR . EJIOFOR'S FACE SHOWS US HOW MUCH ANGER HAS BEEN BUILDING UP IN HIM OVER THE YEARS. WE ALSO SEE MR. PARSONS' DIRECTORIAL SKILLS - THE SKILLS OF HIS CINEMATOGRAPHER, JEREMY COX- AT WORK IN THE SCENE WHERE CLARK ENTERS THE SUPERNATURAL BACKROOM, WHICH IS INITIALLY BRIGHT, BUT THEN TURNS DARK WHEN CLARK HEARS A CRY THAT SOUNDS UNNAUTARAL & INHUMAN, & STARTS TO WALK TO THE ORIGIN OF THE SOUND. THE ONE DRAWBACK IN THIS FILM IS THAT WE DON'T GET ENOUGH INFORMATION ABOUT THE RELATIONSHIP BETWEEN YOUNG MARY, (EMBER AMBROSE) & HER MOTHER, NORA (KRISTA KOSENEN), WHO IS DEPICTED AS BEING AGORAPHOBIC. IF WE HAD LEARNED MORE ABOUT THAT, WE WOULD HAVE GOTTEN A BETTER SENSE OF HOW THAT AFFECTED MARY'S RELATIONSHIPS WITH HER PATIENTS. I ALSO WOULD HAVE LIKED TO HAVE SEEN CLARK'S EX-WIFE DEPICTED AS AN ON-SCREEN CHARACTER, SO THAT WE COULD HAVE DETERMINED IF CLARK'S BITTERNESS TOWARDS HER IS JUSTIFIED, OR IF HIS BITTERNESS WAS A MANIFESTATION OF HIS INSECURITIES & PSYCHOLOGICAL PROBLEMS.