Movies
[Review] ‘They Remain’ Is a Flawed But Fascinating Lovecraftian Thriller
One of my favorite Lovecraftian tropes is having a group of reasonable scientists driven to paranoia after confronting some logic-defying (if not entirely madness-inducing) element of our universe. While a definitive adaptation of these stories has yet to grace the silver screen, we can at least be content with the suspenseful terror of films like The Thing or Event Horizon. The latest of these sci-fi horror gems comes in the form of Philip Gelatt’s minimalistic thriller, They Remain.
They Remain stars William Jackson Harper and Rebecca Henderson as Keith and Jessica, a pair of scientists investigating unnatural biological phenomena in an area previously inhabited by a murderous cult. As the investigation goes on, the two are confronted with seemingly paranormal occurrences, and, eventually, their own animalistic tendencies.
To say any more about the plot would be a disservice to a compelling, though admittedly muddled, mystery, so suffice to say that things get even stranger from there. The lack of clear explanations might be a turn-off to some viewers, with the main story feeling a bit too obtuse and deliberately paced for its own good, but the film is still a fascinating and well-crafted dive into the human psyche.
The cinematography is excellent here, with haunting visuals complemented by a simple yet effective soundtrack that constantly mounts tension and builds atmosphere. Many shots rely on unusual composition and framing to sell the idea that something isn’t quite right in this wilderness, without having to resort to characters explaining everything away. Unfortunately, this slow-burning build-up creates a lot of hype for a questionable payoff, which may ultimately decide whether you enjoy the film or not.
I have to commend Harper and Henderson’s performances, as their interactions are the heart of this film, and seeing their relationship evolve is one of the most compelling parts of the movie, and you don’t get bored watching them despite the lack of other characters. That being said, there were a few moments where the dialogue felt awkward and forced, though at times the unnatural wording of the conversations actually helped the film’s weird atmosphere.
For fans of eldritch storytelling, the recurring themes of madness and mysterious cults will obviously be a treat (especially with the film opening on a poignant quote from Lovecraft himself). Nevertheless, the story might not satisfy those who enjoy their supernatural mysteries with a solid conclusion.
Despite the possible disappointment, it’s strangely fitting that at the end of this investigation we’re left with more questions than answers, much like the film’s inquisitive main characters. They Remain isn’t exactly a new genre classic, but it’s definitely worth checking out if you value a suspenseful journey over a definitive destination.
They Remain will be available in select theaters on March 2nd in New York City and on the 9th in Los Angeles!
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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