As a seasoned video game enthusiast with over three decades of gaming under my belt, I must confess that “Borderlands” left me feeling like a lost soul in the wild west, albeit a slightly more fashionable one. The film’s attempt to blend elements from “Guardians of the Galaxy,” “Mad Max,” and “Star Wars” felt more like a mishmash than a cohesive narrative.
In the vast landscape of films and television series based on video games, we have blockbusters such as Sonic the Hedgehog and The Super Mario Bros. Movie, enduring franchises like Resident Evil, and critically acclaimed favorites such as The Last of Us. Some of these manage to generate substantial profits – even a film like Assassin’s Creed, which was panned by critics, did well commercially. However, there are just as many that might have been better off remaining on the gaming console, such as the role-playing first-person shooter game, Borderlands. While humor isn’t typically Eli Roth’s forte, the incessant gunfire, explosions, and violence in this sci-fi action comedy don’t seem to be his strong points either. This film, unfortunately, lacks the excitement that one might expect from such a genre.
As a cinephile with over two decades of movie-watching under my belt, I must admit that I was utterly perplexed when I learned about “Borderlands,” a film featuring an impressive cast led by Cate Blanchett. Given her exceptional performance in “Tár,” which I watched just a year earlier, it seemed almost unbelievable that she would take on such a seemingly mediocre project.
As a gamer, I’ve got to be honest, the movie project starring Blanchett and other big names might have had a slightly different feel, considering it passed through multiple screenwriters. The one who left the most significant impact was Craig Mazin, co-creator and writer of “The Last of Us,” who decided not to associate himself with the project in the end. The final script credit went to Roth and newcomer Joe Crombie, leading some to speculate that Crombie could be a pseudonym.
To start with a captivating cosmic backdrop, it’s revealed that a highly evolved extraterrestrial species called the Eridians once ruled the galaxy. Remnants of their extinct civilization, encompassing advanced weaponry technology, are speculated to be concealed within a vault on the planet Pandora.
As foretold in an ancient prophecy, a descendant of Pandora is said to unlock the secret vault and bring balance back to this devastated world. Once lush and vibrant, Pandora now resembles a charred wasteland filled with industrial ruins and hazardous chemical waste. It’s inhabited by unsavory characters such as scavengers, thugs, criminal gangs, treasure hunters, and the oppressive Crimson Lance military force. The dangerous thresher creatures roam these lands, appearing to be hybrid monstrosities born from the union of Godzilla and a sandworm from Dune.
Meryl Streep portrays Lilith, a calm and composed bounty hunter, characterized by her striking cheekbones, vibrant red mohawk (reminiscent of the film Run Lola Run, styled with a spike), and a knack for instant retribution against any troublesome individuals. Despite her better instincts, Lilith is persuaded by the enigmatic Atlas, either in person or as a malfunctioning hologram (played by Edgar Ramirez), to embark on a journey to Pandora. Atlas requests that she recover his abducted daughter, Tiny Tina (Ariana Greenblatt, prior to her role in Barbie), who he alleges was taken by one of his security personnel.
Upon her arrival, Lilith remarks, “This place is quite unpleasant,” adding, “For I was born here myself.” This implies a wealth of negative connotations and lingering problems, although it’s important to note that the dialogue may not convey profound psychological insights or authentic human emotions in this script.
Lilith, despite her attempts to shake him off, gets stuck with Claptrap, an annoying mono-wheeled junkyard robot voiced by Jack Black, who says the ominous words: “I’m programmed for humor.” The yappy droid’s data quickly leads her to Tina, a demolitionist with a seemingly endless supply of grubby plush-toy bunnies rigged to explode. The bounty hunter just wants to grab the girl and get out of there, but her assignment turns out to be not so simple.
Tiny Tina is less irritating than Claptrap, though she mostly made me miss Chloë Grace Moretz in Kick-Ass. She has teamed up with rogue soldier Roland (Kevin Hart) and Krieg (Florian Munteanu), a semi-literate hulk in a gas mask who serves as her protector. Once they stop trying to kill Lilith, the band of misfits flee together from Commander Knox (Janina Gavankar) and her Crimson Lance goon squad.
Information about a contact is received from Moxxi, who runs a Sanctuary City bar with a theme reminiscent of a seductive Mad Hatter’s tea party. It’s entertaining to see Gina Gershon embodying Mae West in her role, with hints of Cristal Connors added for flavor.
Joining the group next is the unconventional archaeologist Tannis (portrayed by Jamie Lee Curtis), who often acts as a warning system when danger approaches. However, she plays a crucial role by showing Lilith a painting that the bounty hunter created as a child, depicting the Firehawk – an Eridian goddess with fiery wings – which seems to tease us as a preview for the climactic battle to come.
As a longtime fan of sci-fi and action films, I must admit that the movie seems to be a fusion of “Guardians of the Galaxy,” “Mad Max,” and “Star Wars” in a not-so-subtle manner. Having seen numerous movies from these genres, it’s clear that this production attempts to capitalize on their popularity without truly adding anything new or original. The visual aesthetic appears grungy and lackluster, failing to bring the story to life as I had hoped.
Because the characters are largely flat, resembling simplistic gaming personas rather than complex individuals, we don’t feel deeply concerned about their safety or their competition to reach the vault. This is particularly apparent when solo character Lilith starts developing maternal feelings towards Tina and a growing affection for her newly discovered family. However, these emotions appear more like pre-written narrative elements, lacking authenticity and sincerity, despite the use of dramatic fireworks, even though they are meant to be heartfelt.
Roth’s narrative style often hurries through character development to reach more rapid-fire actions, accentuated by Steve Jablonsky’s intense synthesizer and orchestral music, as well as heavy usage of computer-generated imagery. This speedy pace leaves little time for characters to establish genuine connections with each other.
Performing this role seems to be an unappreciated task for the actors due to its one-dimensional portrayal. Despite Blanchett’s enthusiasm for donning sleek leather attire with holsters fastened at her waist, ready for swift gunfighting, the character is simply a rehash of typical tough, worldly-wise, and calm-headed female action heroines. The anticipation for another display of the quirky authority Blanchett exhibited in Thor: Ragnarok remains unfulfilled.
Hart’s usual wit seems strangely muted, perhaps due to his dialogue lacking spark, and Black’s delivery comes across as grating and humorless. This is further exacerbated by Claptrap’s frequent interruptions with songs and dance numbers. When a comedy depends on jokes like a robot enduring gunfire and then expelling bullets, it’s in trouble. Given that Blanchett and Black previously collaborated with Roth on “The House With a Clock in Its Walls,” they shouldn’t be taken aback by the seemingly under-managed performances across the cast.
It’s plausible that diehard video game enthusiasts might find more enjoyment from Borderlands, yet I wouldn’t bet on it. In the game, at one instance, Claptrap reactivates following a heavy-firearm attack and asks, “I fainted. Was anything significant that happened?” However, this movie doesn’t contain such an event.
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2024-08-08 10:26