April 21, 2026

I’ll come straight to the point about this one: It is, without a doubt, one of the worst films I have seen in ages (and that’s being kind). Director Heixan Robles’ debut feature about the chaotic fallout from a massive solar flare (known as a Carrington Event) has so much wrong with it that it’s difficult to know where to begin. For starters, while the solar storm is the seminal event of this story, it ultimately has little to do with the narrati… read the rest.

I’ll come straight to the point about this one: It is, without a doubt, one of the worst films I have seen in ages (and that’s being kind). Director Heixan Robles’ debut feature about the chaotic fallout from a massive solar flare (known as a Carrington Event) has so much wrong with it that it’s difficult to know where to begin. For starters, while the solar storm is the seminal event of this story, it ultimately has little to do with the narrative of the picture other than serving as an unexplained catalyst for the rampant carnage that follows. Instead, the picture is more akin to a zombie apocalypse flick in which nearly everyone goes utterly berserk, engaging in wild, antisocial behavior due to their collective memory loss and resulting in a related disappearance of civility (how a solar flare is responsible for either of those developments is never adequately explained). This essentially opens the door to an outbreak of unbridled mayhem (to put it mildly) that leads to much of the population inexplicably devolving into “savages,” beings who relentlessly assault innocents in reprehensibly brutal (and graphically depicted) ways. Then there are those who attempt (theoretically speaking) to restore a semblance of order by ironically employing the same tactics as their foes. Such is the case with Pagán (Néstor Rodulfo), a trigger-happy, out-of-control cop who essentially ends up shooting at anything that moves, regardless of their savagery status. His authority is frequently challenged by Cano (Jorge Alberti), a seemingly compassionate protector of the victimized who has what appears to be a submerged sinister side. In turn, these two head-butting adversaries vie to control Thalía (Greta Merced Cruz), a drug-addicted young woman who suspects she’s the mother of an abandoned daughter and the frequent target of the unbridled sexual advances of oversexed thugs. In the meantime, Pagán and Cano also have to contend with the perverted and bizarre activities of a charismatic but darkly delusional social services employee, Raymond (aka “Cisco”) (Omar Torres Molina), who many lost souls see as a savior for their dilemma. However, most of the narrative serves as little more than an excuse for senseless, gratuitous violence of an often-questionable nature, very much like a violent video game on steroids that incorporates directionless story elements that make little sense, especially in its implausible, baffling transition sequences. What’s more, viewers can’t rely on the film’s trailer for elucidation or explanation, either, as it includes material that doesn’t even appear in the picture’s theatrical cut. In short, “Borealis” is a positively awful offering that contains precious little redeeming value and serves primarily as a vehicle for what’s wrong with many of the movies being made these days. This one is easily skipped, especially among viewers who are easily repulsed by grotesque imagery lacking in purpose, substance or direction.

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