Who doesn’t love a good genre hybrid? Certainly, scream queen Samara Weaving is no stranger to the concept, excelling in the deliciously wild worlds of Netflix’s The Babysitter duology and Radio Silence’s propulsive Ready or Not. Borderline, written and directed by Jimmy Warden (Cocaine Bear, The Babysitter: Killer Queen), promises to be just as unpredictable as anything else in Weaving’s growing repertoire of fascinating films. Warden’s directorial debut possesses an unpredictable energy alongside batshit crazy performances, both of which are essential ingredients. Setting its sights on celebrity obsession, Borderline takes bold creative risks while channeling the deranged craziness of up-and-comer Ray Nicholson.
Paul (Nicholson, Smile 2, I Love You Forever) could give Annie Wilkes a run for her money. Right at the top of the film, through Paul’s narration, we get a glimpse into his current level of deranged. In just the first few minutes, the action jumps around from the end point to just over six months prior to then six months later. Possibly reflecting Paul’s level of confused delusion, there’s a bit of that same confusion to be found in the structure. Paul infiltrates a mansion belonging to famed pop superstar turned actress, known only as Sofia (Weaving). Unfortunately for her bodyguard, William (Eric Dane, Grey’s Anatomy, Feast), he gets caught in the crosshairs of Paul’s manic episode. We are gifted an entire montage of Paul letting loose inside Sofia’s massive empty mansion—bathing in her hot tub, parading around her kitchen in his tightie-whities. By the time the stretched title card fills the frame over William, left bleeding out near a fountain just outside Sofia’s property, the point about Paul being properly off his rocker has been quite clearly established.
Now for that pesky six months later. By all accounts, William appears to be dead just before Borderline properly gets into motion. Alas, his faux-death presents the first of many different fake-outs. Does death matter in the context of this preposterous story? His miraculous survival does set the stage for his involvement in the main plotline. In a television playing in the background, we learn that Paul has escaped from a mental asylum with unhinged Penny (Alba Baptista), and the two are “considered extremely dangerous.” Any guesses on where they will try to go next? Paul’s obsession with Sofia balloons as he sets a grand plan into motion. By the end of the night, she will be his lawfully wedded wife, no matter who Paul needs to kill to get her in his grasp.
Nicholson channels his father’s knack for madcap insanity, playing Paul as delightfully deranged. He veers between charismatic and terrifying—he presents a believable villain that has a strange innocence to him tinged with danger. Playing opposite him, Weaving holds her own as a vapid singer with more depth than it initially appears. As Paul sics his henchmen on Sofia, she is more than prepared to stand her ground. Sofia’s on-again-off-again boyfriend, Rhodes (Jimmie Fails, Nickel Boys, Wish You Were Here), also gets pulled into the action. Each time the film preps to zig, it zags instead, reveling in the absurdity of it all. The memorable set pieces provide plenty of chaos despite a mostly surface-level narrative. Building towards the wedding, Jimmy Warden tightens the screws and cranks up the wild ridiculousness.
Borderline does not always land the jokes, but manages to entertain with its sheer audacity. A genre-bending mix of psychological horror, satire, and camp was more than welcome, especially given Weaving’s recent filmography. While the stakes never feel quite as high as they should, the bizarre humor and committed batshit crazy performances make Borderline well worth a watch.
Get your crazy on with Borderline, breaking out of the asylum and into theaters and digital platforms on Friday, March 14th.
