Borderlands – An Indistinguishable Adaptation (Early Review)

Taking another break from the horror genre, Eli Roth returns to the studio blockbuster with Borderlands. Showing a softer side in 2018’s The House with a Clock in Its Walls, his reputation, mostly for his critically polarizing and ultra-violent horror films, will leave audiences curious about whether his take on the video game franchise will either channel early butchered video game adaptations who have chaotically bombed at the box-office and been panned by critics, or simply join the growing list of recent mundane big-budget flops. Based on the video game franchise, the film follows Lilith (Blanchett), an infamous bounty hunter who returns to the planet of Pandora to search for the missing daughter of a powerful man. Along the way, she runs into some eccentric characters, forming a team of misfits in search of an ancient power that lies somewhere on the planet.

Roth’s leap from the horror genre to this video game adaptation is a puzzling decision, as one would figure he would use his honed-in skills to help reimagine a horror franchise. However, his attempt is a welcome change. The end result is another story in and of itself as Roth, despite his lengthy filmography, falls victim to making another unstylish modern blockbuster to join the pile. Roth’s inexperience in a different genre does not help in distinguishing this big-budget film from the other flops in recent years. While his horror films have had little to offer in style outside his scenes of graphic violence, none of it is present here, as Borderlands is stuck behind a restrictive PG-13 rating. His first real attempt at directing action results in an uninspiring collection of meaningless fights that expose the film’s Spy Kids level of visual effects. Meanwhile, Tim Miller was called to direct reshoots during Roth’s absence (while finishing up last year’s Thanksgiving), which proved to be a blessing and a curse. It is apparent where Miller’s additions were done, as much of the action seems surprisingly more choreographed. In exchange, changes in key plot points are evident as characters are primed to make bold choices but never follow through, indicating that these adversities were substituted for cringy banter.

The ensemble portraying this band of misfits is fittingly a chaotic mess, in line with the group’s uncoordinated ways of escaping trouble. Blanchett’s hesitation in joining the film is obvious through Lilith’s reluctance and apathetic reactions to the chaos happening around her. While a relieving situation for some, those who are looking to see Kevin Hart’s usual obnoxious comedic routine will be disappointed as his character, Roland, is stripped down to a one-dimensional by-the-books soldier looking to collect a reward. Florian Munteanu, despite his situation as the unfortunate boxing representative to play the masked brute Krieg, surprisingly brings more energy than his career-starting Creed II antagonist role. Black’s presence as the voice of Claptrap is one of the film’s few highlights, as the nasally robotic voice he provides brings out his skills as the comic relief while also proving that he remains one of few Hollywood stars who do voice actors justice in providing distinct voices outside his own. Every member of the film’s eccentric ensemble feels like they are each participating in a different film, leading one to assume that Roth does not have control over keeping a consistent tone among his cast.

In the end, Borderlands shows that the film industry has long left the era of disastrous adaptations behind. However, Roth’s lack of style in his films does not translate to his attempt at this big-budget action film. With his successor overshadowing his work and his inability to coordinate an ensemble cast, the film merely falls in line with other recent failing blockbusters.

still courtesy of Lionsgate

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Costa Christoulas

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