Two Vatican investigators Mark (Adrian McArdle) and Deacon
(Gordon Kennedy) are sent along with techie Gray (Robin Hill) to a newly-opened
church in the British West Country after its priest reports that paranormal
activity had recently taken place during a Christening there.
Largely exposed through the found-footage medium, The Borderlands succeeds in its
amalgamation of clever paranormal scrutiny and some of the creepiest church
scenes in horror history. Playing with atypical religious characters; Gray’s
overbearing dry humour; and intent to prove rationality, it allows us to follow
a modern day sceptical pursuit into the unknown. Familiar to the concept of Eli
Roth’s The Last Exorcism, it’s the
believers who have encountered false claims and explained the seemingly
supernatural only to do so again the next time round, that initially snatches
our attention.
When the team reach their cottage in the middle of nowhere, the
rural landscape’s uninviting The Wicker
Man-esque austerity provokes an instant discomfort and an unwelcoming
eeriness. The dark, sinister tone is sealed as a curious, well-contrived
backstory of the church, matched with the character’s anecdotal experiences, unveils
themes of satanic cultism and ancient supernatural myth, bringing much more
contextual scope to the film’s provincial, small country setting.
But what is most satisfying is that, though the character’s collective
situation – the investigation – is intriguing, it’s the individual problems of
Deacon and the unnerving mystery surrounding Father Crellick that really keeps
you guessing. The slow progression of the blossoming friendship and harnessing respect between Deacon and Gray also provides a tangible feel to their nightmare. Here, character development is given more than a mere scribble on
the screenplay.
A universal fault of found-footage film is often its
inability to account for hidden cameras and constant filming in times of
crisis. Thankfully, Goldner’s ensures it’s fully justified and the static
positioning of the cameras allow for lingering scenes of observation. As wispy
crys lurk in the walls and crucifix’ fly from the altar, the audience are given
the green light to watch strange occurrences met by characters’ reactions,
rather than being thrown around the screen via a manic handheld camera as soon
as there’s the slightest bump in the night. For once, it doesn’t feel as though
you’re being guarded of the true horrors. Sights and sounds are amplified, and
it’s petrifying. However, though Gray’s bold hilarity and absurd comments
warrant a few early laughs, his continuous commentary when the lights go off is
a little distracting when, really, silence would’ve received the biggest
payoff.
Ultimately though, it’s the unspectacular end climax that
lets it down. A lazy, too-soon cut-off leaves too many questions unanswered and
presents an open-ended ambiguity that does little to spur a tangible
explanation, even when pushing to the very limits of your imagination. A little
betrayed, you can’t help but think that the clever premise has amounted to
zilch.
VERDICT: A lousy ending casts a disparaging shadow on what was, up until that point, a enjoyable viewing. Nonetheless, Goldner has proven that found-footage (or in this case, forever-forgotten-footage) is not dead, and that there is something to be said for fantastic production in the subgenre.
(Visit www.horrortalk.com for more of my published work, and for horror news, reviews, comment, reports & competitions)
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