‘Borderline’ Review: Ray Nicholson Carries New Horror Comedy
There are quite a few rising stars that are already having an incredible year. One of them is Ray Nicholson, who between a small but memorable turn in Smile 2 and his devious villain in Novocaine, has proven his strength and versatility as an actor. Now, in writer and director Jimmy Warden’s feature film debut Borderline, Nicholson carries the twisted horror comedy with devilish giggles, toothy grins, and endearingly creepy declarations of love.
Nicholson plays Duerson, a stalker obsessed with pop star Sofia (Weaving), who appears at her front door with the intent to marry her. But he’s stopped by her loyal bodyguard Bell (Eric Dane), who empathetically tries to simply turn Duerson away instead of calling the cops or getting angry. But his kindness is NOT repaid as Duerson stabs him for a chance to get access to the house. Fortunately, Duerson is caught before he can hurt anyone else and he’s sent away to jail.
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Then we flash forward almost a year later and the story slows down as we see what Bell’s life is like in the wake of his workplace injury, learn more about Sofia, and meet her new boy toy Rhodes (Jimmie Fails). Then, we learn Duerson is out of prison. And of course, he’s heading right for Sofia. He’s ready to prove his love and marry her that very night to consummate their relationship. Along for the ride are his cronies who help infiltrate the mansion and take down anyone in their path.
The shocking violence of the introduction sets a specific tone that’s immediately negated by the film’s first half where Warden focuses on Sofia rather than Duerson, trying to craft her into our damsel in distress when really we just can’t wait to see what Duerson does next. It almost feels like Warden knew exactly how he wanted Borderline to end, but he wasn’t quite sure how to get there.
As Nicholson and his motley crew of criminals re-enter the picture, the film’s tone ramps up in manic violence and completely unexpected sequences featuring things like a piano and one stunning duet. It’s just a shame that it takes so long to get there because Borderline does offer a different look at the pop star horror movie. Warden is trying to examine stalkers and fandom through a mishmash of genres that has its shining moments but is ultimately underbaked.
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Unlike most recent films about pop stars and the dangers of fame, Weaving doesn’t do much singing here and there aren’t any new pop hits on the soundtrack. That wouldn’t be a problem if there was a better sense of who Sofia was outside of a generic famous singer with an aloof attitude and a jaded perspective. She lacks a depth that keeps you from truly caring about her survival. Weaving tries her best to give the character life, but this fictional pop star falls flatter than a sour note belted out during the Star Spangled Banner.
Thankfully, Nicholson dances across the screen with reckless abandon, giggling and grinning his way through violent death and threatening the so-called love of his life. If we needed further proof that this actor is a star, then let this be that proof. He has a bright future ahead and I hope it includes more roles like this one.
Borderline is at its best when it’s at its most chaotic and unhinged. When Warden throws himself into certain scenes, you can feel the passion and love pulsing through each bizarre beat. But that comes too late after a slow-moving plot that isn’t quite sure about the story it’s trying to tell. The increasingly ridiculous situation and unhinged performances keep Borderline entertaining but the script is as shallow as a teenage idol. Watch to revel in the rising stardom of Nicholson, if nothing else.
Borderline is out now to rent or buy on digital.
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Borderline (2025)
Summary
The increasingly ridiculous situation and unhinged performances keep Borderline entertaining but the script is as shallow as a teenage idol.
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