Jimmy Warden’s Borderline kicks off with an electrifying introduction that sets the stage for the chaotic and often surreal thriller to follow. Much like Warden’s previous work (Cocaine Bear), Borderline thrives on blending horror, comedy, and an almost dreamlike absurdity, creating an experience that feels as unpredictable as it is entertaining.
From the outset, the film exudes a strong early Coen Brothers vibe—simple yet effective, weird yet compelling. Visually, Borderline is stunning, particularly in its use of bold, eerie lighting. Some scenes are bathed entirely in red, amplifying the film’s tension and nightmarish qualities. One particularly creative death scene involving a flashlight stands out, taking a familiar horror trope and executing it with a fresh, impactful twist.
Ray Nicholson shines in the lead role of Paul Duerson, a dangerously delusional stalker whose grandiose fantasies drive the film’s twisted narrative. While Borderline may not be the breakout leading-man moment I had hoped for Nicholson, he undeniably demonstrates an impressive range, fully committing to his character’s unhinged yet oddly charismatic persona. Opposite him, Samara Weaving continues her streak of performances where she gets absolutely battered on screen, proving once again why she’s one of the most compelling scream queens of modern horror.
Jimmie Fails brings a pseudo-Dennis Rodman energy to his role, adding to the film’s off-kilter, surreal energy, while Patrick Cox’s portrayal of J.H. feels like a role tailor-made for Ethan Suplee—though Cox certainly makes it his own. The cast, as a whole, leans into the film’s heightened reality with performances that are both exaggerated and deeply committed.
Music plays a significant role in Borderline, helping to elevate the film’s distinct atmosphere. Even if the story doesn’t resonate with everyone, the soundtrack alone is worth the ride, featuring a fantastic cover of Madonna’s Borderline by The Flaming Lips. The film’s most unexpected highlight? A hilarious and visually striking musical number set to a Celine Dion song that had me laughing out loud—again, aided by impeccable lighting choices.
In many ways, Borderline feels like the A Star is Born of horror films—music-driven, visually distinct, and emotionally charged, albeit in a much darker way. While the film may not reinvent the genre, it’s an effective, quirky, and thrilling vehicle for Ray Nicholson to showcase his potential. If nothing else, Borderline proves that both Nicholson and Weaving have perfect faces for horror.
So, “Ready or not, here comes Johnny!” Borderline is a wild, strange, and stylish ride that’s well worth taking.
Jessie Hobson