Film reviews: ‘Backrooms,’ ‘Power Ballad,’ and ‘Masters of the Universe’
A sad sack happens upon an eerie hidden world, a star steals a tune from a nobody songwriter, and a ripped young man must reclaim his stolen kingdom
‘Backrooms’
Directed by Kane Parsons (R)
★★★
“Might social media, a force often credited with hastening the death of theatrical moviegoing, instead prove to be its salvation?” asked Justin Chang in The New Yorker. As the three-week-old horror film Obsession continues its surprising run, it has now been blocked from topping the box office chart by another made-on-the-cheap hit by a young director whose vision was also shaped by social media. Backrooms, created by 20-year-old Kane Parsons, is “an ingeniously contoured exercise in liminal horror” built around the notion of a nearly endless maze-like expanse of eerily bland office spaces. Though the film “ends on a disappointingly conventional note,” it establishes Parsons as “an undeniable talent.”
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Given that his theatrical debut grew out of the huge audience he’d built on YouTube for short videos set in the same world, said Amy Nicholson in the Los Angeles Times, “Backrooms would be one of the year’s most significant releases even if the movie itself was merely fine.” Instead, “it’s a work of honest-to-goodness art,” an “uncannily mature” tale about how the self-serving narratives we tell ourselves block emotional growth. Chiwetel Ejiofor plays an embittered furniture store owner who discovers a passage into the mundane alt-space, eventually drawing two young employees and his therapist, played by fellow Oscar nominee Renate Reinsve, into also braving its potential dangers. Still, Backrooms is less straightforward horror than “a surrealist painting in motion.” It conjures “a deep-in-the-bones unease,” said Kyle Smith in The Wall Street Journal. And while the disappointing screenplay ensures the film isn’t “a fully explained wonder,” it remains “well worth the wander.”
‘Power Ballad’
Directed by John Carney (R)
★★
The latest music-filled comedy drama from the director of Once and Sing Street “should be breezy fun,” said Stephanie Zacharek in Time. Instead, “it left me feeling mildly depressed,” because its happy ending felt unearned after roughly 90 minutes about a nice-guy musician who has a song stolen from him by a pop star. Co-stars Paul Rudd and Nick Jonas “aren’t to blame here; it’s the story that lets them down,” and the wrong turns start with the pain we have to see Rudd’s underdog endure.
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Beyond that, “you have to suspend quite a bit of disbelief to meet the film on its own terms,” said Christian Zilko in IndieWire. Rudd plays Rick, the middle-aged American leader of a Dublin-based wedding band who, after meeting a former boy-band member, winds up exchanging song sketches deep into the night. Months later, Rick is shocked, and begins spiraling, when one of his tunes becomes an uncredited global hit for his new celebrity soulmate. But while some key events in the story are “tough sells,” the characters’ actions convey emotional truths, and “the film builds toward the mature realization that sometimes it’s OK to miss out on our material dreams if we replace them with something better,” such as a rich family life. Still, the likable Rudd is “about all that tethers Power Ballad to something like life,” said Manohla Dargis in The New York Times. Director John Carney “keeps everything insistently light, gesturing at complexities rather than delving into them.”
‘Masters of the Universe’
Directed by Travis Knight (PG-13)
★★
“The creators of the new Masters of the Universe movie really, really want to let you know that they’re in on the joke,” said Frank Scheck in The Hollywood Reporter. The brains behind Mattel Studio’s first movie since Barbie know that only children and over-grown adolescents would care about He-Man and Skeletor, two 1980s toys turned cartoons, so they’ve packed the film with “so much campy, self-referential humor that you don’t know whether to laugh or cry.” There’s plenty of action, but even that feels “more dutiful than exhilarating, with nothing really seeming at stake.”
When the movie works, it’s “a rollicking under-dog space adventure,” said Clint Worthington in RogerEbert.com. Nicholas Galitzine plays He-Man, aka Prince Adam of Eternia, who, as an adolescent, was sent to Earth after his kingdom was conquered by Skeletor, played by Jared Leto as a purring diva. Fifteen years later, Adam is working a dreary HR job when a chance encounter sends him back home to reclaim the throne. Owing to all the wisecracking, however, the movie too often “feels like it’s ashamed of what it truly wants to be.” It’s “most enjoyable as a fish-out-of-water tale on either side of the planetary divide,” said Guy Lodge in Variety. Once we’re back on Eternia, though, “things get less spry,” and as the movie lurches from one fight scene to the next, it becomes “a nostalgia trip that never quite belongs to the present, and never rouses any cherished memory of the past.”