Mythbusters The genre of pseudo-documentary cinema, elevated to absolute popularity thanks to the unthinkable success of the painting “Paranormal phenomenon”, rapidly embraces cinema around the world. Naturally, the flagship of all genres is Hollywood, which subsequently released such horror films as “Quarantine”, “Testimony”, “The Coming of the Devil”, “Diaries of the Dead”, “Slanderman” and at least a dozen more projects. Then the baton was intercepted by restless Spaniards, who became leaders of European cinema in terms of horror films. In turn, they noted such “found films” as “Report” (among other things, the original film that formed the basis of the American remake called “Quarantine”) and “Beast”. However, this course of things did not suit the British, who have always been famous for their school of horror, only one step behind colleagues from Hollywood. Of course, representatives of Albion could not help but turn their eyes to the pseudo-documentary furor and in 2013 released one of their best paintings in a kind of sub-genre of horror films, which was called "Borderline"
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The plot of the film unfolds in a remote English town, which seems frozen in time. As stated in the film, you and I will enter a kind of closed ecosystem, in which the ideal order is only slightly diluted with a pinch of prank. The main characters of the film are a team of Vatican specialists who investigate cases of supernatural miracles related to the Christian religion around the world. This time, Deacon (Gordon Kennedy), Gray (Robin Hill), and their leader, Father Mark (Aidan McArdle), go to an ancient stone church located on a hill near the town to find out whether the events that occurred in it some time ago are true. During the rite of baptism, a special paraphernalia suddenly began to fall from the altar and all this got into the lens of the video camera. Now experts will have to find out whether the higher heavenly forces honored the provincial church with their presence or whether the local priest decided to artificially attract attention to himself. But the third option remains - the heroes may have to deal with a mysterious guest beyond the control of their minds from the depths of centuries.
Like every tape in which shooting is made with the help of hand-held cameras, in the “border lane” you should not expect a rapid development of events. At first, the director and screenwriter Elliot Goldner decides how to reveal for us the images of the three of his main characters. Thus, the Deacon appears before us as a wise man of years of investigation. He has seen dozens of "miracles" in his lifetime, and almost every one of them was able to scientifically refute. Of course, there was time in the film for Deacon to tell us a couple of his stories. And when he begins his story, the picture of fictional events is instantly restored in his head. But despite all the disappointments of the systematic denial of the divine presence on earth, Deacon still believes in higher powers and his faith is unshakable. Of course, he is not a perfect Catholic. At first, he looks like a secretive and frowning personality, but on closer inspection we see that the hero does not mind drinking a pint of beer, a glass of wine and even a sharp joke. As for Grey, his presence on the team seems entirely accidental. The technical specialist got into the “militia” of the Vatican only because of the need to earn a piece of bread. Gray has no special faith, although he believes in miracles with all his heart. In addition, it is distinguished by a special talkativeness, which is perfectly combined with the periodic gloom of his senior colleague Deacon. And finally, the head of the group is Father Mark. Honestly, this hero does not have special charm. Father Mark is a pedantic Catholic manager whose main purpose is to maintain a decent appearance of the church, and therefore it is his duty of honor to refute the “cheap” miracles that slide religion into medieval darkness. As a result, Mark is often ready to close his eyes to all the controversial moments and destroy a potential legend. In addition, it is worth noting that the confrontation of callous Mark and enthusiastic Deacon sometimes results in serious quarrels and the viewer, of course, takes the side of the subordinate, but not the boss.
Since attention was paid to the images of the characters clearly considerable, such it is in the film itself. The director did not indulge his viewer with a whole scattering of extraordinary events associated with church miracles, but showed us the work of specialists in the destruction of myths by factory masters. That is, we are shown in detail the placement of sensors, the study of plastered walls, the examination of each hidden corner of the ancient structure. Occasionally, the narrative is diluted with the line of a local priest, Father Krellik (Luke Neal), who appears to have actually believed in miracles rather than producing them. Although the association with the imperishable history of Scooby-Doo immediately comes to mind, and therefore in the context of an ambiguous plot, you should not make hasty conclusions, especially since the director manages to insert several truly frightening moments in those places where you do not expect them at all.
The crown of each film is a spectacular ending, which should correct all possible shortcomings of past events. And indeed, “Borderline” closer to the final begins to add great pace and pleases fans of the supernatural riot of effects. In addition to all this, the ancient secrets of the church are revealed to us, frightening by its rigidity. Elliot Goldner's picture even begins to look like "Indiana Jones" from horror movies. And it would be nothing if not for the last scene, which leaves more questions than answers. And here the viewer will have to think for himself - what really happened in the church. But despite the stimulation of the thought process, a pinch of specifics would still not hurt.
As a result, I want to say that "Borderline" is a good horror with multiple worthy components. The picture may be interesting even not the most fierce fans of the genre, and this suggests that Elliot Goldner has something worthwhile. Not brilliant, but definitely worth it. Just moderate your expectations and familiarize yourself with the work of church myth-busters. As we are told, myths are not always destroyed. So, good to see you...
7 out of 10