The Borderlands movie, after quite a few delays, has finally been released right into a more favorable environment for video game adaptations, though it disappoints by failing to live as much as expectations. The film deviates significantly from the unique game’s essence, leading to a generic experience that feels disconnected from the source material.
The problems with the movie stem not from its roots in a video game but fairly from how much it strays from the core elements that made the sport popular.
The movie significantly alters the tone and plot of the Borderlands series, making a version that feels out of sync with the games. The humor is muted, and the motion is sanitized to suit a PG-13 rating, stripping away the sport’s signature bloody, irreverent style.
The story also undergoes major changes, remixing the unique plot and omitting key characters, which contributes to the general sense that this isn’t the Borderlands fans know.
Central to the plot is a brand new character, Atlas, the pinnacle of the Atlas corporation, who creates a daughter, Tiny Tina, using alien blood. This differs greatly from the sport, where Atlas isn’t an individual, and Tiny Tina has no such origin. The film’s plot revolves around Atlas hiring Lilith to retrieve Tina from Pandora, a planet she calls home within the movie, though this also deviates from her game backstory.
The movie introduces a core group of characters much like the games but with notable absences and changes. Roland, Lilith, Tiny Tina, and Krieg team up with scientist Patricia Tannis to locate and unlock the vault. Nonetheless, the vault can’t be opened using Tina, who was regarded as the important thing. As an alternative, Lilith, who discovers she is a Siren with ancient powers, is the true key, a twist that doesn’t align with the sport’s lore.
The climax involves a battle between the heroes and Atlas’s forces, culminating in Atlas and Lilith reaching the vault. As an alternative of a final boss fight as within the games, the film ends with the vault’s creature, The Destroyer, dragging Atlas away, leaving the heroes to rejoice.
The film ends without addressing the contents of the vault, further distancing itself from the sport’s narrative. A post-credits scene featuring Claptrap adds little value, making it skippable for viewers.
