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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

'Barzakh' Movie Review: Theatrical limboland worth a visit

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'Barzakh' Movie Review: Theatrical limboland worth a visit

Asim Abbasi’s ‘Barzakh’ is an ode to love, loss, and everything in between. It is haunting, yet mesmerising, and equally puzzling.

The six-episode series follows a dysfunctional family’s ‘spiritual’ journey as they vacillate between grief and hope. However, the journey is hampered by its own excesses and as the show progresses, it becomes arduous to appreciate Abbasi’s vision. Much like his characters, Abbasi leaves viewers in a state of limbo.

Barzakh’s story is set in the Land of Nowhere, a breathtaking valley, where Jafar Khanzada (Salman Shahid), a wealthy patriarch, invites his estranged sons — Shehryar (Fawad Khan) and Saifullah (Fawad M Khan) — to partake in his third wedding. The catch? Jafar has set out to marry his first love Mahtab, who is long dead. While his sons call him out on the absurdity of the situation, it is his caregiver Scheherezade (Sanam Saeed) who shows faith in him. She urges everyone, including the viewers, to have faith in the unknown.

Worth a special mention are the performances of Sanam and Salman — both eloquent and enthralling. The two possess the power to skilfully guide a nonbeliever towards the tumultuous world of faith.

‘Barzakh’, which loosely translates to being in a state of limbo between death and resurrection, evokes the feeling of being stuck in a purgatory. Almost every character in the show is a sinner of varying degrees, and yet incapable of self-reflection. The self-reflection only begins at the Land of Nowhere. The story, characters, cinematography, and every aspect of the show draw heavily from works of literary phenomena — from Gabriel García Márquez to Khalil Gibran. And of course, you’ll find some Shakespeare sprinkled along the way.

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The show does a good job of portraying several difficult topics such as toxic masculinity, repressed sexuality, postpartum depression, the burden of parenting and caregiving and the fragile nature of familial bonds. This, put together with the phenomenal acting by the entire cast, would have produced a splendid series, if only Abbasi had stopped and asked himself: How much is too much?

What also holds the series back from reaching its potential are the excessive supernatural elements — the trapped souls with stones on their backs, the red-draped fairies, the all-knowing painter, the girl with serpent skin… the list goes on. Plus, a plethora of metaphors and symbolism. Despite having a strong cast and an engaging plot and narrative, ‘Barzakh’ only hurles riddles at the audience. While this is exciting in the beginning, it gets tiresome as the show progresses.

However, none of this takes away from the fact that ‘Barzakh’ remains one of the most interesting shows to come out of Pakistan in recent times. It explores topics that the country has often stayed away from and brings us a mythical world where there remain no boundaries between love and life. Abbasi’s ambition only leaves one waiting for his next project.

Cut-off box – Barzakh
Hindi (Zee5 Youtube)
Director: Asim Abbasi
Cast: Fawad Khan Sanam Saeed Salman Shahid Khushhal Khan
Rating: 3.5/5

Published 10 August 2024, 03:48 IST

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Movie Reviews

Movie Review – It Ends with Us

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Movie Review – It Ends with Us

It Ends With Us was phenomenal. Blake Lively gave this character her all, you felt every little emotion she felt, her chemistry made the screen spark. I love her, I don’t think she’s ever done anything under exceptional. This role was no different, she owned it.

I did not know anything about it when I found out that I was doing this movie. I also did not know that it was a book. Coincidentally, before me and my granddaughter went to go see it, we did some shopping at the mall first. (where my theater is) We had walked past a bookstore and Savannah spotted the book. We were both surprised, who knew? We joked around about it and went to go see the movie. As the movie ended, my granddaughter looked at me and begged to go get the book, so we did and she’s happily reading it now. We also discovered that there is a follow-up book and will be going to pick that up this weekend. (thanks Rebecca)

——Content continues below——


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The story was so heartfelt and powerful. I hope the movie does well at the box office, I was a bit surprised when I walked into my theater, it was packed. Since I moved to Tennessee, I have yet to see more than ten people at the early show. I live in a small town, but the ladies were out yesterday. At the end of the movie it received massive applause. It tickles me when that happens.

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I’m sure if you’ve read the book you plan on seeing it, I just want to let everyone else know, this is a must see movie. I’ll be reading the book this weekend and I’ll report back on how I felt they did then.

Grade: A

About The Peetimes: I’ve got 2 Peetimes in for you, I recommend the 2nd Peetime, but if you have an emergency the 1st Peetime is there for you too.

There are no extra scenes during, or after, the end credits of It Ends with Us.

Rated: (N/A) Some Strong Language | Sexual Content | Domestic Violence
Genres: Drama, Romance
Starring: Blake Lively, Justin Baldoni, Jenny Slate
Director: Justin Baldoni
Writer(s): Christy Hall, Colleen Hoover
Language: N/A
Country: United States

Plot
Adapted from the Colleen Hoover novel, Lily overcomes a traumatic childhood to embark on a new life. A chance meeting with a neurosurgeon sparks a connection but Lily begins to see sides of him that remind her of her parents’ rela…

Don’t miss your favorite movie moments because you have to pee or need a snack. Use the RunPee app (Androidor iPhone) when you go to the movies. We have Peetimes for all wide release films every week, including Borderlands, Deadpool & Wolverine, Twisters, Fly Me To The Moon,  Inside Out 2 and coming soon Alien: Romulus, The Crow, Beetlejuice Beetlejuice, Transformers One, The Wild Robot  and many others. We have literally thousands of Peetimes—from classic movies through today’s blockbusters. You can also keep up with movie news and reviews on our blog, or by following us on Twitter @RunPee.
If there’s a new film out there, we’ve got your bladder covered.

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Movie Reviews

Film Review: We Are Zombies

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Film Review: We Are Zombies

At the beginning of 2019’s “Zombieland: Double Tap,” the film’s fourth-wall breaking narration strikes a tone that’s both wry and earnest: “You have a lot of choices when it comes to zombie entertainment,” it observes. It’s a comment that would seem positively bizarre just 20-odd years ago, before numerous artists in film, comics, television and more sought to resurrect their fond childhood memories of George A. Romero films, Italian horror rip-offs and gonzo splatter comedies, causing the zombie to become as much of a cultural mainstay as vampires, ghosts and werewolves.

Now that we’re well past the zombie revival phenomenon, we’ve entered a sort of post- post-modern phase when it comes to the living dead. It’s no longer novel to make a ribald zombie comedy, and the most predominant metaphors and allegories concerning the creature have been nearly done to death. Unless the zombie lays dormant for a while, there may not be much new to say about or with them.

Yet pushing the envelope in the arts and entertainment isn’t paramount; if it were, we wouldn’t have sequels and remakes and reboots and the like. What counts for a lot is sincerity, and that’s a quality that the film collective known as RKSS has in abundance. RKSS — Quebeckers individually known as François Simard, Anouk Whissell, and Yoann-Karl Whissell — first burst onto the scene with 2015’s “Turbo Kid,” a feature that showcased their geek culture bonafides as well as their penchant for combining the wholesome with the gruesome.

Their follow-up, “Summer of ’84,” took an impressive turn into genuinely dark territory, indicating that they may be adding some compelling maturity to their work going forward. Their first feature since then, “We Are Zombies,” pumps the brakes on that idea. But no matter; even though the film is, with its adult protagonists, ironically more juvenile than their first two films about children were, it’s still a charming zom-com romp. 

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Based on the comic series “The Zombies That Ate the World” by Jerry Frissen, “We Are Zombies” sees RKSS (who have jumped back on writing duties here for the first time since “Turbo Kid”) employ their clever economy when it comes to world building, explaining with just a short opening credits montage the idea that the dead have started coming back to life, but instead of turning into ravenous flesh-eating ghouls, they simply wander (or sit) around, taking up space.

They are, in effect, a new minority population, and although they’re given basic rights (including being referred to as the “Living Impaired”), humans are becoming perturbed by their growing numbers. To try and address that, officially licensed groups offering “retirement services” offer to take rotting loved ones off people’s hands. Seeing as how living corpses can fetch a good price on the black market, some enterprising people choose to hack into official systems and pose as retirement servicemen, and this is exactly what Freddy (Derek Johns), Karl (Alexandre Nachi), and Karl’s half-sister Maggie (Megan Peta Hill) do. 

Unfortunately, this misfit trio finds their get-rich-quick grift beset on many sides, namely by the actual servicemen they’re stealing zombie pickups from: Stanley (Patrick Abellard) and Rocco (Marc-André Boulanger), who work for the Coleman corporation. Hannity (Benz Antoine), a former military man and current Coleman head honcho, refuses to pay Stanley and Rocco until they repay the company their debts, eventually leading the doofus duo to kidnap Karl and Maggie’s sweet old grandmother (Clare Coulter) as collateral until the black market trio can scrounge up some money.

In order to do that, Karl uses a connection to get a job from an avant-garde artist/musician (Stéphane Demers), who wants them to literally dig up a celebrity Living Impaired to have as his date. Meanwhile, Hannity is making waves at Coleman, insisting that the Living Impaired population is growing too large, and begins planning to unleash an experimental chemical which will turn the LI into ravenous zombies and lead to, he hopes, the elimination of all the undead.

The comic book origins of “We Are Zombies” are present in all of this world building, and it isn’t too hard to see how a series (be it comic, film, or TV) could be spun off from it. Yet RKSS aren’t so craven as to position the film as part one of several. Instead, the movie is firmly focused on being a Coen Brothers-esque caper, as our so-called heroes make as many mistakes as they have victories.

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Unlike the work of the Coens, there isn’t a ton of satiric bite to be found here; the slacker-humor dialogue is only edgy if you’re still a teenager, and some of the script’s attempts to be politically incorrect feel more feeble than sharp. Still, the idea that zombies and humans are both highly foolish (with humans edging out zombies in stupidity) is potent enough to lend the film a nice undercurrent of misanthropy. 

Where “We Are Zombies” really shines is in its display of RKSS’ mix of ribald humor, violence, and open-hearted charm. Many of the hallmarks of the directing trio’s work can be seen in the film: nerd culture being openly celebrated, a badass blonde girl (who’s verbally referred to as such), a penchant for set-ups and pay-offs, the slick cinematography of Jean-Philippe Bernier (as well as his synthwave music, along with Jean-Nicolas Leupi, under the name of Le Matos), and so on.

There aren’t any standout performances as with RKSS’ previous films, but the ensemble as a whole works really well together, especially when tasked with selling various romantic couplings that are a little half-baked (which the script comments on, to its credit). More than anything, the movie feels genuinely personal, an increasingly rare thing in a media landscape saturated with zombie entertainment: it’s no coincidence that Karl, Freddy and Maggie are essentially the three filmmakers’ alter egos. To paraphrase “Zombieland: Double Tap,” you have a lot of choices when it comes to new zombie movies, and if you choose “We Are Zombies,” you’re at least likely to have a good time.

Soundsphere Rating: Three and a Half Stars

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