"Backrooms" Succeeds
We got a movie that takes the old school approach of trying to creep you out with chilling atmosphere more than anything else.

Nicholas Monsour is an American film and television editor based in Los Angeles. Monsour gained wide recognition through his collaboration with writer-director Jordan Peele on the horror film Us (2019) and the science-fiction thriller Nope (2022). His feature film credits also include Keanu (2016), Next Goal Wins (2023), and Nickel Boys (2024). In television, Monsour has worked on Key & Peele (2012), The Twilight Zone (2019), The Last O.G. (2018), Cobra Kai (2018), Colin in Black & White (2021), Jean-Claude Van Johnson (2016), Whiskey Cavalier (2019), Brockmire (2017), Comrade Detective (2017), Drunk History (2013), and HBO's Witness (2012). His contributions to Key & Peele (2012) earned him a 2016 Primetime Emmy Award nomination for Outstanding Picture Editing for Variety Programming for the episode "The End," shared with editors Richard LaBrie, Neil Mahoney, and Stevie Waichulis. Monsour's later career includes highly acclaimed work on Nickel Boys (2024). It received awards from the Los Angeles Film Critics Association and the St. Louis Film Critics Association. Throughout his career, he has been recognised by groups such as the Academy of Science Fiction, Fantasy & Horror Films, the Chicago Film Critics Association, the Online Film Critics Society, and the International Online Cinema Awards. In addition to his editorial career, Monsour has worked extensively in non-profit media production and education. He received a Bachelor of Fine Arts from the School of the Art Institute of Chicago. His films, video art, sculptures, installations, performances, and theatre pieces have been exhibited in multiple cities in the United States and internationally. He wrote and directed the feature film Oh My Soul, which was officially selected for the Rotterdam International Film Festival in 2009.
We got a movie that takes the old school approach of trying to creep you out with chilling atmosphere more than anything else.
Nope succeeds tremendously in dealing with higher concepts in an engaging and highly entertaining manner without sacrificing theme or personality.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.