Despite reports to the contrary the found footage genre is very much alive. With recent films such as the frightening Banshee Chapter, intelligently twisting Evidence and sci-fi coming of age drama Chronicle there are filmmakers clearly demonstrating that some of the most interesting additions to the canon are still being made. Now, with the release of Elliot Goldner’s The Borderlands there is a truly terrifying film to include among any list of the best horror films of recent years.
Set somewhere in Western Britain, The Borderlands trails a team of Vatican investigators as they follow up on reports of paranormal activity at a remote church. Comprising the experienced and cynical Deacon (Gordon Kennedy), techie non-believer Gray (Robin Hill) and by-the-book priest Mark (Aidan McArdle) the trio are fitted with head cams as the Vatican wants everything documenting and set up camp in a cottage near the church in question. As they begin to investigate it becomes clear that the initial prejudices each of them carries will be tested as this mystery may not be as easy to debunk as they thought and local animosity threatens to obstruct their research.
To start with we need to cover the standard found footage traits that naysayers will always raise as issues. The cameras are justified as, this being a formal investigation, everything must be documented to avoid any confusion. The use of head cams also counters the argument that under normal circumstances characters would simply drop the cameras and run. The other issue usually raised is the reliance on jump cuts, simplistic scares and routine footage of nothing happening. Goldner has superbly got around this as the scares are limited in the first two acts to clever use of in camera trickery and there is barely any time lapse footage of nothing happening in dark rooms. The key thing though is that, even if The Borderlands conforms to certain genre clichés it does so against a backdrop of increasingly uncomfortable intensity that draws you in to the action and plays with all your inherent fears.
It is impossible to ignore, try as you might, the uncomfortable sense of brooding malevolence that builds towards a finale so unsettling as to make breathing almost impossible. Skilfully Goldner has peppered his story with moments of wit that reveal a darkly humorous underbelly but that only further emphasises the unavoidable certainty that all will not end well. Hill provides the most obvious comic relief as the brash Gray who believes nothing and fears everything but it is the deadpan Kennedy that is the real centre of the film. His world weariness is painfully clear and the constant drink in his hand just adds to the impression of self-loathing penitence.
OVERALL SUMMARY
Regardless of your opinion on found footage horror films The Borderlands will scare the hell out of you. Whether you suffer at the hands of the subtle and inventive jumps or emerge unsettled but not unscathed at the end there is no doubt this is one of the best British horrors of recent times.
