As someone who has spent countless hours immersed in the vibrant and chaotic world of “Borderlands”, I must confess that my excitement for this movie adaptation was palpable. Having witnessed the evolution of the franchise from its humble beginnings to the behemoth it is today, I held high hopes that the silver screen would do justice to the looter-shooter game I’ve grown so fond of. Alas, my journey with “Borderlands” the movie was a rollercoaster ride that left me somewhat underwhelmed.
As a film enthusiast, I find an interesting parallel between Hollywood studios and dedicated “Borderlands” fans – despite our diverse tastes elsewhere, we’re united by our shared pursuit of something valuable. For Hollywood, it’s the box office revenue; for “Borderlands” fans, it’s the thrill of uncovering hidden gems within the game.
Essentially, “Borderlands” is a type of game known as a “looter shooter.” This means that players fight their way through diverse landscapes (in this instance, the fiercely protected and riches-laden planet of Pandora), in search of items that enhance their characters. Unlike movies, you can repeatedly play and replay the same game without it ever feeling repetitive, which is a big reason why “Borderlands 2,” released back in 2011, still attracts a dedicated following today.
In simpler terms, the concept behind behaviors like elderly women playing slot machines, young adults using dating apps like Tinder, and even lab mice pressing levers for potential rewards is known as a feedback loop, which psychologists often discuss. However, this pattern, as described by B.F. Skinner, doesn’t quite apply to cinema because the main variable there is whether or not you enjoy passively watching something that primarily stimulates a part of your brain different from what it does in these other examples.
In a manner that appears to blend elements from “Suicide Squad” and films by Zack Snyder, director Eli Roth’s interpretation of “Borderlands” was expected to be more edgy, but surprisingly, it falls short in terms of its attitude and style as suggested by its cyberpunk promotions. However, the main reason fans of the game might find it disappointing is that it lacks the element of surprise or unpredictability, which undermines the excitement associated with discovering loot.
If you’re unfamiliar with the “Borderlands” series, Roth’s sci-fi action comedy may still feel recognizable due to its adherence to the typical pattern of a group of bickering, unsavory characters blasting their way through waves of enemies on an alien planet. Essentially, it resembles a film that mimics “Guardians of the Galaxy,” except instead of possessing superpowers, this team relies on firepower.
Hollywood’s latest attempt to attract gamers back to movie theaters with “Borderlands” may seem tailored for fans, but in reality, it’s another strategic move by Lionsgate to reel in audiences thought to be lured away by gaming. Occasionally, this strategy pays off, as demonstrated by the unexpected triumph of “Five Nights at Freddy’s” last year. However, unlike that film which appealed to devotees with Easter eggs and private jokes, “Borderlands” aims for a broader audience. Interestingly, the studio is offering it in Imax format, though die-hard gamers who appreciate the game’s unique cel-shading art style might have preferred an animated version over live action instead.
The unique casting choices for game publisher 2K’s largest non-sports franchise, Borderlands, by Lionsgate, have been intriguing. Instead of the typical actors one might find in such a movie, they selected Oscar winners Cate Blanchett and Jamie Lee Curtis for unconventional roles. The selection of these two highly talented actresses to play Lilith, a fiery-haired bounty hunter, and Tannis, resembling the character Tank Girl, respectively, was initially met with controversy. However, their talents proved invaluable. Moreover, Jack Black lends his voice to Claptrap, a sarcastic robot, and Kevin Hart portrays a smaller-sized, reformed soldier named Roland. This is significantly different from the subpar game adaptations we’ve seen from directors like Uwe Boll and Paul W.S. Anderson in the past.
As a movie enthusiast, I’d say this:
In simpler terms, Lilith believes her mission is of higher purpose as she’s been employed by Edgar Ramírez, CEO of Atlas Corporation, to locate his supposed daughter, Tiny Tina, portrayed by Ariana Greenblatt. However, it’s not just Lilith on this case, as many believe Tina holds the key to opening a vault filled with valuable Eridian artifacts. Despite her youthful appearance, Tina isn’t actually related to Atlas and turns out to be more menacing than she seems. She is accompanied by Roland and a muscular, shirtless warrior named Krieg (Florian Munteanu). Not only does Tiny Tina use explosive rabbit dolls as weapons, but she also wields the movie’s most powerful gun. Moreover, Atlas proves to be an ineffective antagonist in this scenario.
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Roth maintains a playful, sometimes crude style throughout the film, such as using a potty-mouthed joke when Claptrap spits out bullets following an attack by psychos. However, most of the humor falls flat. It’s difficult to blame the actors, who are fully invested in their over-the-top characters, despite the fact that their elaborate costumes often speak louder than their dialogue.
The main issue lies with Greenblatt, who portrayed the real girl in the “Barbie” film, now famously known as Tina. However, she appears more like an unusual version of Barbie: Her hair bleached to match her fluffy bunny ears and a stylish pink Band-Aid on her nose echo this theme. Yet, when she speaks (particularly in the scene where she’s doused with Thresher waste), it sounds less like Tina and more like an overacting child delivering her lines.
Observe Cate Blanchett as she skillfully breathes authenticity into an outlandish persona. While spectators are accustomed to Lilith’s character, her role in Roth’s reimagining holds a secret, fans eagerly anticipate unveiling. Despite her past flair for camp portrayals, such as in “Thor: Ragnarok,” she manages to avoid this pitfall in the role of the flamboyant vigilante. However, it’s challenging not to notice the irony, given that just two years after the finale of “Tár” left her at rock bottom, conducting video game music for a cosplay audience, she now embodies a video game character.
Given that gamers undoubtedly favor some characters from this group, the movie aims to provide each main character with a heroic fight against a stronger opponent, or in Roland’s case, numerous opponents. However, as the story progresses, it becomes increasingly evident where things are leading. By the time “Borderlands” opens its vault, even the characters seem uninterested about its contents.
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2024-08-08 10:17