Movies
[Review] Is ‘Rings’ Worth the 12 Year Wait?
The Ring burst onto the scene 15 years ago and changed the face of modern horror. PG13 horror became the “it” thing for better or worse. Since then we’ve had on onslaught of sub-R spook shows grace the cinemas. Rings brings the tale of Samara back to the big screen, and the big question is whether or not the J-horror import still stands as a relevant boogey-person after all these year?
The answer is…kind of. It would seem the tale of a cursed video tape would be perfect in this age of social media. The idea that something as mundane as a YouTube clip could signal your impending doom is ripe territory for a horror film. Unfortunately, I can’t say that Rings exploits that concept very well. I’ll complement the ad campaign for giving no clear idea as to what exactly Rings is about. The trailers didn’t do a good job of making the film look good, either, but they at least kept some mystery to the proceedings. Ultimately we have an expanded look at the idea of a “Ring cult”(check the short film attached to The Ring Two) where people are watching the video for the good of “science” only to safely pass it on to someone else before their 7 days are up.
This is a great plot device to reintroduce us to the world of The Ring. Only we don’t travel too far down this line of thinking before the main thrust of the story takes effect. It becomes another mystery where our leads race against time (I suppose, they didn’t seem to be in too much of a hurry) to uncover some integral part of Samara’s backstory in order to stop the curse. In other words, it’s business as usual.
I’d love to scream “studio interference!” I’d love to say an amazing sequel was railroaded by too many cooks in the kitchen, and perhaps that is the case. However, everything on display moves from a logical “A” to “B” to “Z”. It doesn’t feel chopped/re-cut to death. A matter of fact, director F. Javier Gutierrez stages moments that toe that delightful line between gruesome and gorgeous. The cinematography playfully begins with bright, sunny pinks before devolving into the rainy blue we’re used to in a Ring film. Scares on the other hand are not his strong suit.
There are two moments that serve to elicit the heebie jeebies and both have been spoiled by the trailer. The first, with Samara crawling out of the television thrown to the floor, shows promise for what the film could have delivered. The second is the final moments that tease what could be an epic follow up. I won’t reveal more about the plot than I already have as it does go in a direction I wasn’t expecting and ultimately serves to answer a question longtime fans of The Ring/Ringu have longed for.
In terms of technical stats, this is a solid work. It’s reported 33 million dollar budget seems a tad absurd as I’m not sure where all the money went, but it’s a slick production. I wish more horror films were made within this modestly-budgeted range. The lead, Matilida Lutz, is a decent enough heroine, though her performance is terribly inconsistent. Oftentimes it sounds as if she’s reading straight from a cue-card. I’d like to think horrid ADR is to blame. Other times, she is spot on. Her hunky boyfriend, Alex Roe, does a great job of…well, being hunky.
After a 12 year wait, Rings is a better film than The Ring Two, but not by much. Where Two was a convoluted mess of ineffective scares, Rings is a slightly coherent mess of tepid scares. I was never bored, but I was never really frightened or even slightly unnerved. Rings focuses more on the plot and mystery and seems less interested in the mood that these films typically excel at.
Rings does end on a high note, though. The final moments open the doors to a potential sequel that could really bring The Ring into modern times in a way that makes Samara relevant again. It’s just a shame this entry takes so long to get there. Rings is far from the complete train wreck we may have expected after so many delays, but it’s not going to bring Samara’s brand of nightmares to the digital age as it should have, either.

Editorials
‘Backrooms’ Lore Explained: Async Research Institute and the Complex
The iconic line “If you build it, they will come” may have originally referred to a baseball field, but I’d argue that the record-breaking success of Kane Parsons’ Backrooms is proof that the line could also refer to well-crafted movies about ideas that young cinemagoers actually care about.
Yet, despite being based on Parsons’ existing ARG/Webseries, the A24-produced film is more of a standalone tale exploring the personal implications of the titular rooms rather than a traditional examination of the hard sci-fi elements present in the source material.
This less lore-reliant approach was a genius move, as the resulting film ended up being equally accessible to both existing fans and newcomers alike. That’s not to say that Backrooms doesn’t engage with the existing mythology in new and interesting ways, however, as the film heavily expands on the Async Research Institute and the cryptobiology of the rooms themselves. With that in mind, I’m diving a little deeper into these connections in order to help fledgling Backrooms enthusiasts find their way around the yellow labyrinth.
As is to be expected from this kind of article, there are major spoilers ahead, so proceed at your own risk if you’ve yet to see the movie!
Who is Async Research Institute in the Backrooms Movie?

Backrooms. Courtesy of A24.
Of course, if we’re going to discuss the connections between the series and the film, a good place to start would be Async itself. The California-based Foundation plays a brief yet pivotal role in the film as outside observers that only really interfere with the main plot during the final act. While the Foundation is the main focus of the ARG, they’re mostly hinted at in the film.
Chiwetel Ejiofor’s Clark runs into several Async-built “anomaly lures” during his exploration of the liminal space (mostly in the form of human-shaped cut-outs accompanied by audio recordings inspired by the 1977 Voyager Golden Record), as well as surveillance cameras and evidence that at least one of their agents has become trapped in the rooms – though we’ll get to this last detail later.
It’s only towards the end of the flick that Foundation agents finally show up in their iconic yellow protection suits and “rescue” Renate Reinsve’s Mary by pulling her back to “reality” through a familiar portal, though it’s heavily implied that they might not be all that concerned with her well-being.
After all, long-time fans are aware that Async has been researching the “Complex” (their official name for the Backrooms phenomenon) since at least the late 1980s, with their Threshold experiments being based on a Low-Proximity Magnetic Distortion System prototype developed by Oak Ridge National Laboratory in 1982. Unfortunately, their experiments have likely resulted in hidden portals appearing more frequently in the outside world, which consequently leads to more people accidentally “no-clipping through reality”. And that’s not even mentioning the occasional earthquake caused by unstable Thresholds!
Where the Backrooms Fits in the Original ARG Timeline

Kane Parsons’ “The Backrooms” horor short
Though the film takes place in 1990, the ARG’s timeline actually begins in 1996, with the original found footage upload and the ensuing research sparked by the video serving as sequels to the A24 production. Not only that, but film’s Still Life monsters (“misremembered” versions of real people who wandered into the rooms) appear to be precursors to the Lifeform from the series.
In the original videos, it’s speculated that the humanoid predator inhabiting the Complex is the result of a novel strain of hay bacillus forming a human-shaped colony, though the addition of the Still Life mythology may very well mean that the mutated hay bacillus itself is a Still Life reproduction of an existing bacteria that somehow fell into the Complex.
The film also offers us an interesting clue into the history of the Foundation when Mark Duplass’ Phil talks about how the company used to work with MRI machines. This seemingly innocuous origin for the secretive organization implies that the Complex itself might be the result of some advanced form of neural imaging – as if the Threshold is somehow opening a portal to the universe’s -or even God’s- subconscious mind.
Who is Naren Warne and Why is He Important to Backrooms Lore?

Async researches in “Backrooms” web series
One of the more direct connections between the film and the series happens to be Avan Jogia’s Naren Warne, an unfortunate Async Institute scientist who shows up in the movie’s found footage prologue. A now-deleted Discord post by Kane Parsons himself suggests that Warne was originally a part of the Missing Persons survey team that discovered a dead body taken over by “mold” (the aforementioned hay bacillus).
At some point during the expedition, Naren appears to have been separated from the rest of the team and wound up wandering alone in the Backrooms. The film opens with the desperate scientist’s VHS footage as he records his attempts to contact his superiors and is ultimately chased down by an unseen Lifeform.
While this prologue mostly serves to establish that the Backrooms contain more than empty hallways, it’s fun to see Parsons include a trail of breadcrumbs leading back to the lo-fi source material even when working on such a high-profile production.
Naturally, there are other curious connections to be found here, such as a faithful recreation of the original photo that spawned the Backrooms creepypasta in the first place, as well as audio cues harkening back to the various TikTok musical trends that often accompany liminal horror content.
However, half the fun of engaging with lore-heavy material comes from discussing theories with fellow fans, so I’d like to invite readers to comment below with your own favorite additions to the lore/references to the ARG! Just be sure to watch out for suspicious-looking furniture salesmen – especially if they’re dressed up like a pirate.
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