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Movie review: Borderlands? A borderline disaster

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Movie review: Borderlands? A borderline disaster

Borderlands isn’t just the worst movie of the year – it’s one of the worst blockbusters ever made

How is it possible that Borderlands, a new action blockbuster based off one of the best-selling video games of all time, will continue its legacy as of one of cinema’s greatest disappointments?

That reality is the saddest part watching the new Borderlands movie, now stupefying and nauseating audiences everywhere. What should be a fun, sci-fi summer romp is instead a total misfire from nearly every department.

For those unfamiliar, the Borderlands games feature a set of ragtag outlaws across dystopian planets across space, often searching for treasure and space-like creatures. This film version loosely follows the main plot of the first game, first released back in 2009.

That premise though, of a rescue mission gone wrong on a dangerous, desert planet, is here obliterated in an awful screenplay that feels like a half-hearted rip-off of Mad Max and Guardians of the Galaxy (another big summer hit that, strangely, first premiered almost ten years ago to the day.)

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Borderlands’ script is atrocious, filled with unspecific nonsense at best and cruelty and crudeness at worst. The plot is derivative and simple. The technical design is unfinished and grotesque, with no clear theme or purpose. The editing and direction is confusing, and most of the cast looks bored and anxious on screen.

Even worse is the film’s sense of humour, seemingly insulting the PG-audience of teenage boys by stuffing every scene with as much unfunny toilet humour is possible. The jokes are consistently crass and gross – sometimes downright revolting – and each is worse than the one before it.

Some of the more tasteful zingers, for example, include quips like, “You’re a bunch of poopy mouth faces who can eat your own butts!”, or, “I didn’t know electrocution caused defecation!”, complete with the matching visuals.

As if this wasn’t bad enough, somehow the film’s $110 million budget didn’t include enough to finish rendering or animating the film’s special effects, which often have the composure and detail of a half-finished high school project. I haven’t seen effects this sloppy since 2019’s Cats…which famously went on to win Worst Picture that year.

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Having an unpolished final product in the modern movie landscape is unacceptable when it’s a large studio project like here at Lionsgate, especially when the competition (like Universal and Warner Bros.) have cutting edge effects in every major film with ease. An unfinished or rushed movie is just lazy. The effects are so poorly rendered the 15-year old original Playstation 3 video game looks better than this.

Yet the worst sin is how all of the characters in the cast are endlessly nasty and unlikable, with almost no redeeming character traits. These are bitter, cynical characters with no counter balance that makes the audience want to root for them.

Not only is this a betrayal of their more gripping, gritty personalities in the source material, but it gives talented actors in the cast nothing meaningful to work with, leaving them to flounder with shallow, clunky dialogue and comedy dripping with corporate synergy.

I almost feel bad for the genuinely talented performers like Cate Blanchett, Kevin Hart and Jamie Lee Curtis whose skills as storytellers and comedians are being wasted, especially with designs and relationships that are being misdirected as a clear knock-off to better science fiction movies of the last decade.

Blanchett, for what it’s worth, is still fully committed to the character however unpleasant she is. Her performance, along with a few others (like a great Janina Gavankar as Commander Knox) are truly the sole enjoyable elements of this mess.

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Video games movies have a (perhaps unfair) reputation in the last 40 years of having disingenuous Hollywood adaptations often misunderstanding the tones that made the franchises and characters popular in the first place. It’s possible to get the adaptation right – look at the recent success of The Last of Us on television.

But not Borderlands. Director Eli Roth has completely misunderstood what makes summer blockbusters entertaining or why the games were such a big hit in the first place. His tone is so off-putting that the whole film feels boring and hollow.

I’ve been reviewing movies for more than a decade, and I genuinely can’t remember the last time I disliked the experience of watching a movie this much. For anyone going out to the cinema for a good time, that’s a borderline disgrace.

1 out of 10

Rated PG, 1hr 42mins. Sci-Fi Action Adventure.

Co-written and directed by Eli Roth.

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Starring Cate Blanchett, Ariana Greenblatt, Kevin Hart, Jamie Lee Curtis, Florian Munteanu, Jack Black and Edgar Ramírez.

Now playing at https://www.cineplex.com/theatre/silvercity-burlington-cinemas.

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Movie Reviews

Movie Review – Desert Warrior (2026)

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Movie Review – Desert Warrior (2026)

Desert Warrior, 2026.

Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.

SYNOPSIS:

An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.

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With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.

The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.

Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.

As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.

That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.

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Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist

 

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Movie Reviews

Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind

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Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind
Director: Giulio BertelliWriters: Giulio Bertelli, Pietro Caracciolo, Pietro CaraccioloStars: Yile Vianello, Alice Bellandi, Michela Cescon Synopsis: As the fictional Olympic Games of Ludoj 2024 approaches, Agon shows the stories of three athletes as they prepare and then compete in rifle shooting, fencing and judo. In his contemplative and visually rigorous film Agon, director Giulio Bertelli
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Movie Reviews

FILM REVIEW: ROSE OF NEVADA – Joyzine

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FILM REVIEW: ROSE OF NEVADA – Joyzine

‘4’, the opening track on Richard D James’ (Aphex Twin) self titled 1996 album is a piece of music that beautifully balances the chaotic with the serene, the oppressive and the freeing. It’s a trick that James has pulled off multiple times throughout his career and it is a huge part of what makes him such an iconic and influential artist. Many people have laid the “next Aphex Twin” label on musicians who do things slightly different and when you actually hear their music you realise that, once again, the label is flawed and applied with a lazy attitude. Why mention this? Well, it turns out we’ve been looking for James’ heir apparent in the wrong artform. We’ve so zoned in on music that we’ve not noticed that another Celtic son of Cornwall is rewriting an art form with that highwire balancing act between chaos and beauty. That artist is writer, director and composer Mark Jenkin who over his last two feature films has announced himself as an idiosyncratic voice who is creating his very own language within the world of cinema. Jenkin’s films are often centred around coastal towns or islands and whilst they are experimental or even unsettling, there is always a big heart at the centre of the narrative. A heart that cares about family, tradition, culture, and the pull of ‘home’. Even during the horror of 2022’s brilliant Enys Men you were anchored by the vulnerability and determination of its main protagonist. 

This month sees the release of Jenkin’s latest feature film, Rose of Nevada, which is set in a fractured and diminished Cornish coastal town. One day the fishing boat of the film’s title arrives back in harbour after being missing for thirty years. The boat is unoccupied. And frankly that is all the information you are going to get because to discuss any more plot would be unfair on you and disrespectful to Jenkin and the team behind the film.  You the viewer should be the one who decides what it is about because thematically there are so many wonderful threads to pull on. This writer’s opinions on what it is about have ranged from a theme of sacrifice for the good of a community to the conflict within when part of you wants to run away from your roots whilst the other half longs to stay and be a lifelong part of its tapestry. Is it about Brexit? Could be. Is it about our own relationships with time and our curation of memory? Could be. Is it about both the positives and negatives of nostalgia? Could be. As a side note, anyone in their mid-40s, like me, who came of age in the 1990s will certainly find moments of warm recognition. Is the film about ghosts and how they haunt families? Could be…I think you get the point. 

The elements that make the film so well balanced between chaos and calm are many. It is there in the differing performances between the brilliant two lead actors George MacKay and Callum Turner. It is there in the sound design which fluctuates from being unbearably harsh and metallic, to lulling and warm. It is there in the editing where short, sharp close ups on seemingly unimportant factors are counterbalanced with shots that are held for just that little bit too long. For a film set around the sea, it is apt that it can make you feel like you’re rolling on a stomach churning storm one minute, or a calming low tide the next. Dialogue can be front and centre or blurred and buried under static. One shot is bathed in harsh sunlight whilst the next can be drowned in interior shadows. 

Rose of Nevada is Mark Jenkin’s most ambitious film to date yet he has not lost a single iota of innovation, singularity of vision or his gift for telling the most human of stories. It is a film that will tell you different things each time you see it and whilst there are moments that can confuse or beguile, there is so much empathy and love that it can leave you crying tears of emotional understanding. It is chaotic. It is beautiful. It is life……

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Rose of Nevada is released on the 24th April. 

Mark Jenkin Instagram | Threads 

Released through the BFI – Instagram | Facebook

Review by Simon Tucker

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