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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
A comedic psychological thriller led by Samara Weaving, Ray Nicholson, and Eric Dane should not be this entertaining, and yet, it is. Produced by Brian Duffield (The Babysitter, The Babysitter: Killer Queen, Cocaine Bear, No One Will Save You), Margot Robbie (I Tonya, Once Upon a Time… in Hollywood, Dollface, Birds of Prey, Promising Young Woman, Barbie, Saltburn, My Old Ass), and her husband Tom Ackerley (I Tonya, Promising Young Woman, Barbie, Saltburn, My Old Ass), Borderline borders—really, no pun intended here—on horror.
The 95-minute cross-genre flick edges on horror territory so well by slightly brushing on certain aspects, elements, and tropes. Something is truly fascinating about how it navigates from beat to beat, scene to scene, taking time to concentrate on each character, albeit not necessarily developing them to a satisfactory degree. In the long run, what anyone going in will come to find is a fine enough film that could do better with a bit of fluff.
Borderline is written and directed by Jimmy Warden (The Babysitter: Killer Queen, Cocaine Bear) in his feature filmmaking debut.
In this review, I will discuss Jimmy Warden’s Borderline. As the title of this review suggests, there will be no spoilers.
Borderline Logline
According to Magnet Releasing’s production notes, here is the official synopsis for Borderline.
COCAINE BEAR writer Jimmy Warden makes his twisted directorial debut in this edgeof-your-seat thriller that follows a dangerously persistent stalker (SMILE 2’s Ray Nicholson) who invades the home of a ‘90s pop superstar (READY OR NOT’s Samara Weaving) with grand delusions of a wedding. With her life on the line and help from her loyal bodyguard, she must escape the stalker’s sinister grip before they tie the knot.
Magnet Releasing
Discussion
Warden’s storytelling abilities are tested as viewers witness the central conflict unfold and unravel. While they aren’t perfect, they’re also not terrible by any means. It’s the fact that minor details are introduced into the narrative and the writer-director isn’t fully consistent in highlighting the importance of the little things that could be bothersome. For instance, the missing puzzle piece in Sofia (Samara Weaving) and Bell’s (Eric Dane) first scene together is never discovered. It’s almost a symbol of the film’s incomplete nature and that anything is up for interpretation.
One thing—to get it over with—and, candidly, my main remark about Borderline, is its depiction of victims in peril. Cocaine Bear is treated with a layer of amusement, wherein a black bear ingests a package of cocaine and goes on a drug-induced rampage throughout the woods. Such is the case with, say, Wes Craven’s Scream 3, Quentin Tarantino’s Once Upon a Time in Hollywood, and Emerald Fennell’s Promising Young Woman, all comedic narrative-driven films wherein an otherwise heavy predicament is instead perceived and treated lightly. On the one hand, I don’t think that is a bad thing, that is, to sugarcoat a severe event. Then again, victims or generally those in pain often feel as if the saying, “laughter is the best medicine”, isn’t healing enough in terms of real-world application.
Even the title, Borderline, points to the psychological. Warden’s film is less concerned with resolving the mentally afflicted antagonists and focuses more on how to physically combat them. We, as human beings, are at an iffy point in time; we’re still not far off from the establishment of Freudian thought. This might be why I have trouble holding the film closer to perfection.
Subjective Comedy
On the bright side, I find that Borderline often stays true to its comedy genre-categorization. In the opening scene, the placement of a cherub fountain is somewhat funny. (Although, I suppose I blame the Austin Powers franchise for that sense of humor.) Yasmeen Kelders has genuinely hilarious line deliveries as Bell’s daughter, Abby. Just like the others, her role needs greater depth. Still, I cannot help but laugh at the silly things that Paul Duerson (Ray Nicholson) subjects her to. She’s traumatized, sure, but somehow that doesn’t affect her much. Similarly, Rhodes (Jimmy Fails) turns into the butt of a joke by merely walking into the middle of conflict. I understand Warden commands the screenwriting, but it’s flat-out hilarious how the character finds himself in these slapstick circumstances.
Personally, one of my favorite bits is when Sofia shares the spotlight with Penelope “Penny” (Alba Baptista) towards the end. It’s a confusing bit, but the characters get to butt heads in a way that passes the Bechdel Test. Seriously, I appreciate when two women can share a scene with intent. In this context, I don’t believe it’s two women fighting over a man but rather a misconstrued sentiment. Add on a layer or two of irony, and it’s frankly one of the sweeter string of moments played out in Borderline.
With that said, there are laughable moments that, really, should not be laughed at because it can be a disservice to actual people dealing with mental illnesses. Duerson’s lackey, J.H. Calhoun (Patrick Cox), is the unintelligible one of the trio. He doesn’t open padlocks right, and his aim with a gun is even worse. His role of servitude towards Duerson meets a dead end because his friendliness is never reciprocated, especially in trying to tell Duerson that he is gravely deluded.
A Filmmaking Feat Nonetheless
Regardless of how troubling some may find it from the first frame to its last, Warden’s film at least has an understanding of its style as a feature. Cinephiles—or rather, arguably, people who so claim to love the realm of film and television—tend to throw around the term “nostalgia bait” like a rag doll. Yet, if it were not for the visual flare and the soundtrack, then I wouldn’t pay any mind.
Director of photography Michael Alden Lloyd and editor Joe Galdo have scenes where the distance and movement of certain characters appear challenged. For example, the different camera angles exhibiting the distance between Bell and Duerson in the opening scene struggle to keep me at unease. Here, I don’t know whether to see the bodyguard in safety or within the spaces of danger. There is also a scene where an officer fails to safeguard characters from an antagonist. It’s a well-done nearly two-and-a-half minute one-take sequence but doesn’t line up with the chyron plastered before it.
Then again, I love the overhead frames of things like Rhodes locking the front mansion door after Bell, the view of Sofia’s neighborhood, Sofia making herself a cup of hot tea with honey, and even the compact scene of Penny fighting off a security guard at Sofia’s residential gate. The shot of half of Duerson’s face reflected on the front door as Rhodes peers through the glass from the outside is one of a few excellent imageries—a normal man looking into abnormality and witnessing and realizing what’s really gone wrong.
Music to My Ears (and My Mind)
Mondo Boys’ scoring and music supervisors Susan Jacobs and Jillian Ennis’ song selections are alluring. The orchestral scoring in Bell’s on-screen interaction with Duerson introduces a suspenseful layer to the conflict. However, what follows is a lighthearted composition that should be horrific given the nature of the situation. The whistling score during Penny’s scene at the front gate is marvelous in its ability to intensify without getting your heart beating too fast.
The inclusions of Annie Lennox—as the title card beams up into frame in a red font color—, The Cardigans, Waylon Jennings, Tommy James & The Shondells, and The Flaming Lips, to name just a few, add to the surreal nerve-wracking “1990-something” time setting. It can be inferred that Borderline takes place in the late ’90s just looking at the Junior movie puzzle box and the release of “Lovefool” in 1996. However, the vibes that “Cumbia del Olvido” by Nicola Cruz gives off during a scene featuring Sofia and Rhodes dancing in the middle of a well-lit nightclub are so good that we forget that that instrumental was released in 2015.
Lights and Colors
Lloyd does fantastic work with the camera, especially in capturing the megamachines that are Los Angeles and the Hollywood area. The scenery and the tilting drone(?) shots of the city during the day and at night leave a sweet impression. By comparison, the brief tracking shot of Sofia closing her windows is suspenseful, but not too thrilling. Overall, production designer James Hazell and assistant art director Aly Bérubé focus on a small pocket of the Californian location, primarily Sofia’s mansion, followed by even smaller set pieces here and there.
These set pieces and costume designer Florence Barrett display the brilliance of dualities. Warden and his production crew make primary colors pop with vivality—Duerson’s cyan dress for his popstar idol, a blue bandaid, Sofia’s cyan guitar, the red trunk for clothing, Sofia’s red bedroom robe and her recording studio with red walls, and Sofia’s assistant Kaylor’s (April Cameron) yellow sports vehicle. I think if it weren’t for these, then Borderline would just come off as dull.
The movie’s introductions to its characters are promising scenes that I wished culminated in a stronger conclusion. Sofia and Rhodes conversing whilst holding a camcorder in the bedroom is alluring. Yet, I also love gaffer Trevor Crist’s lighting in places such as when Sofia sparks up a cigarette and enters the nightclub dance floor with Rhodes—the flashing lights, followed by the warmer, redder light centered on the two characters provide a sensual feeling. Likewise, the lighting during Sofia and Penny’s duet is baffling yet done marvelously. It might be one of my favorite set pieces in Borderline, not to mention it includes one of the better action sequences I’ve seen in the film.
The Crew Behind Borderline
Michael Alden Lloyd serves as the director of photography. David Astorga Bocos and Justine Yeung are the unit still photographers.
Trevor Crist serves as the gaffer.
Joe Galdo (Monkey Man) serves as the editor.
Mondo Boys score the film’s musical composition. Susan Jacobs (Happiness, M. Night Shyamalan’s Eastrail 177 trilogy, Little Miss Sunshine, The Final Girls, The Visit, I Tonya, Promising Young Woman, Cruella, Old, Servant, No Hard Feelings, Trap) and Jillian Ennis (I Tonya, Promising Young Woman, Barbarian, Woman of the Hour, MaXXXine, Drew Hancock’s Companion) serve as the music supervisors.
Matt Drake (It’s a Wonderful Knife) serves as the supervising sound editor. Eugenio Battaglia (Longlegs, Heretic, The Monkey) and Alex Lara are the sound effects editors.
Rich Delia (Don’t Breathe, Lights Out, It: Chapter One, The Babysitter, Brightburn, Swamp Thing, Mortal Kombat, Scream, Scream VI, Renfield, Abigail, Osgood Perkins’s The Monkey) serves as the casting director.
Adam Richards (Prisoners, The Final Girls, Jessica Jones Season 1, Game Night, Good Boys, Brightburn, Birds of Prey, Scream, Scream VI, Joy Ride, Abigail, The Monkey) is the US casting associate.
Candice Elzinga is the Canadian casting director. Martina Smyth is the Canadian casting associate. Maria Georgescu is the Canadian casting assistant.
Bulent Hasan serves as the storyboard artist.
Garvin Cross serves as the stunt coordinator. Leanne Buchanan (They, Final Destination 2, Scooby-Doo 2: Monsters Unleashed, Final Destination 5, The Predator, The Monkey) serves as the fight coordinator.
Rhiannon Roberts, Dalias Blake, Tally Rodin, Darryl Scheelar, and Ryan Ennis are the stunt doubles.
Aesthetics
James Hazell (R.L. Stine’s The Haunting Hour) serves as the production designer. Aly Bérubé serves as the assistant art director.
Joshua Plaw serves as the set decorator. Ryan Schmidt is the assistant set decorator.
Florence Barrett (Summer of 84) serves as the costume designer. Danielle Galgoczy serves as the assistant costume designer.
Tracy George is the key makeup artist. Ashley Forshaw and Suzie Klimack are the makeup effects artists.
Shelly Jensen serves as the hair department head. Starlette Tolver is the key hairstylist.
The Cast of Borderline
Samara Weaving (Ash vs Evil Dead Season 1, The Babysitter, The Babysitter: Killer Queen, Ready or Not, The Valet, Scream VI, Azrael, untitled Ready or Not sequel) portrays Sofia, a renowned popstar.
Eric Dane (Charmed, Grey’s Anatomy, X-Men: The Last Stand, Euphoria, Bad Boys: Ride or Die, Americana) portrays William “Bell”, Sofia’s bodyguard.
Ray Nicholson (Promising Young Woman, Licorice Pizza, Smile 2) portrays Paul Duerson,
Jimmy Fails portrays Rhodes, a former Trail Blazers basketball player.
Alba Baptista portrays Penelope “Penny”, Duerson’s accomplice and appointed “production assistant”.
Yasmeen Kelders portrays Abby, Bell’s daughter. Catherine Lough Haggquist plays Eleanor, Abby’s aunt and Bell’s sister-in-law.
Patrick Cox plays J.H. Calhoun, Duerson and Penny’s driver/ lackey.
Terence Kelly plays Lutzner, a pastor of the Protestant Church. Matthew Del Bel Belluz portrays Office Carter.
April Cameron plays Kaylor, Sofia’s assistant.
Chris Shields plays Officer Parker.
Performances and Character Developments
Eric Dane has a vital role to play, yet I’m not too keen on his flat direction. William “Bell” barely gets to spend time with his daughter, and the emotional distress in the fact that he is without a wife/ Abby is without a mother is non-existent. Aside from the opening and closing scenes, there aren’t any scenes to corroborate the character’s worth as a celebrity’s bodyguard. It’s unfortunate because Dane is known for his prominent television roles. If you are looking for a film wherein he gets to be somebody, then Borderline might not be it.
Samara Weaving taps a bit into her past horror performances in a rather delightful role. Because Warden takes light of the conflictual circumstances, I don’t see Sofia as much of a victim. She doesn’t have as many scenes with Ray Nicholson, but one of their firsts is interestingly acted; here, Sofia has a fantastic line delivery as she attempts to drive Duerson out of her home. Weaving seems to have as much fun here as her time in Radio Silence’s Ready or Not. The big difference is that Sofia only earns her wounds when she crosses paths with Penny.
The Antagonists
Alba Baptista executes a surprise performance in her role as Penelope “Penny”. She does a lovely job of taking over a scene with her presence. Although, when she shares one particular scene with Sofia, Baptista and Weaving play a nice game of trying to outperform one another. With Baptista, I absolutely love how she delivers her lines. Baptista sings phenomenally for the type of role she is meant to portray. Penny is psychologically unwell, but Baptista makes it believable through her acting.
Ray Nicholson channels his father Jack Nicholson’s Joker from Tim Burton’s 1989 film, Batman, in such an uncanny character role. Paul Duerson isn’t right in the head, but Warden doesn’t illustrate just what exactly got him to be that way. The actor never misses a beat, including a small detail where he attempts to slide down a staircase railing but ends up walking down the steps anyway.
Final Thoughts on Borderline
The scarce characterization and the downplaying of the narrative conflict bring this down for me. However, if you, as a viewer, are an “it’s just a movie” type of person, then I suppose the latter should not matter all that much. Still, when it comes to a compelling narration, I would at least like to know more about the characters introduced and why I should care that each and every one of their lives is at stake during this random night in the 1990s.
Warden has a way with subverting what audiences come to expect out of horror. Just when you think one thing will happen, the unexpected occurs instead. It plays out nicely, and yet, the narrative misses its mark with low accuracy. As a filmmaker, the writer-director had the opportunity to tell a genre-defining story, but like Bell’s head, it’s a shock that he doesn’t get a scratch.
4/5 stars
Borderline is now playing in theaters and on digital platforms!
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Managing editor & film and television critic with a Bachelor's of Arts in English Literature with a Writing Minor from the University of Guam. Currently in graduate school completing a Master's in English Literature.
