Portraying mental illness onscreen is a tricky business. Accepting society has evolved to understand that labeling someone as crazy is often far too regressive and dismissive, and there’s a better way to deal with perceived dangers caused by uncontrolled instability than brutal incarceration or excommunication. There’s also a long history of movie and TV villains whose primary drive is the wiring of their brains, allowing them to do virtually anything without explanation or motivation beyond their convoluted chemistry. Borderline tells a story of obsession and delusion that doesn’t let itself be confined by any traditional limitations and offers something inventive and interestingly self-contained as a result.
Borderline begins with Paul (Ray Nicholson) introducing the end of the story, which finds him about to be wed to Sofia (Samara Weaving), admitting that it’s a typical cliché when films show the last scene first. There’s much more to it, however, as becomes immediately clear when Paul shows up at the large home of pop star Sofia and is greeted by Bell (Eric Dane), Sofia’s bodyguard, who tries to defuse a situation that quickly escalates when Paul isn’t willing to hear that what he believes he has with Sofia is entirely within his own head. Fast-forward a bit and Paul isn’t going to take no for an answer this time, freshly escaped from prison with a nefarious plan to be united regardless of any obstacles with the woman he loves.
The choice to offer no backstory for Paul’s implied history of stalking and problematic behavior related to the 90s celebrity who serves as the objection of his undying affection is an intriguing one. Paul certainly comes on strong, but much of the weight is put on Dane’s shoulders to convey through the tone of his voice and Bell’s body language the threat he perceives Paul to be. Sofia is far less polite and patient, almost as if she’s more irritated with Paul for fixating on her than she is scared of what he might actually be able to do to hurt her if she managed to sufficiently upset him.
The universe presented in this film is also rather small. Rhodes (Jimmie Fails) is with Sofia when Paul arrives with his henchman J.H. (Patrick Cox) and fellow escaped inmate Penny (Alba Baptista) intent on making the wedding of his dreams happen, which means that he becomes a character in this story since he’s literally on the premises. Bell’s wife (Catherine Lough Haggquist) and daughter (Yasmeen Kelders) are also involved, but that’s essentially it, with no police units or surprise players waiting in the wings to influence a situation that, in some cases, does feel like it’s largely up to interpretation even if at least one person involved can’t coherently see reality.
As someone very familiar with horror roles, Weaving is well-equipped to play this part, which gives her ample opportunity for snarky remarks as she attempts to save her own skin however she can and outsmart someone who likes all the wrong things about her. Nicholson is another fantastic choice, having previously delivered different versions of personality disorders in I Love You Forever and a recent Adults guest spot, committing fully to this performance and the world in which Paul wants to live. Though Penny is more of a loose cannon as a character without a defined focus who seems to purely enjoy violent chaos, Baptista is electric to watch and a standout of a film that is otherwise mostly defined by the presences of Weaving and Nicholson.
Borderline will assuredly not be for all audiences, but its title and poster image, which sees a smiling Paul offering a drink to Sofia, who is tied to a chair, should sufficiently keep those away who would be immediately turned off by its plot. For those willing to stick it out, this film is certainly engaging and stays true to a specific and particular piece of Paul’s condition that takes it in a somewhat unexpected direction. First-time director Jimmy Warden’s previous credit as writer of the film Cocaine Bear is an appropriate indicator of this film’s often brutal, bloody nature, but this product is far less unhinged than it might seem at face value.
Movie Rating: 7/10
