Whilst somewhat thin, writing and character-wise, Backrooms is a fantastically scary and thrilling, intense, and just a damn well made horror film. Fans of Parsons’ work will be well at home with the film’s frantic, deliberate pacing and eerie, surreal worldbuilding akin to its internet horror roots. Thoughtfully shot, competently acted, and unsurprisingly, is thematically, emotionally driven rather than grounded, and salient. Backrooms serves as a fantastic entry point into what is arguably one of the most elevated iterations of internet horror. 8/10.

Paranoia. Voyeurism. Identity. Commodification of the self. Perfect Blue dissects all of these themes to great effect, and displays them in a plethora of unnerving scenarios. Kon’s use of blurry, upsetting visuals and fractured editing makes the film’s world feel subjective, and intangible. Kon doesn’t just set out to blur the line between performance and reality, art and artist. He implicates the viewer in that juxtaposition. It’s rare that a film feels more and more invasive the longer you watch it, like the film is watching you back. Perfect blue is nothing short of cinematic brilliance. 10/10

A true classic, with breathtaking visuals, swathes of heart, and a brilliant score. Its themes and subject matter are somewhat darker than most of its tonally adjacent disney fare for its time, which only bolsters what is an incredibly unique, gripping, gem of animated storytelling. Underrated as HELL, and exceptionally well crafted, only sullied by some retrograde, expositional writing issues (mainly discordance from contemporary viewing). 9/10.