“Gates An Urban Horror Film, written and directed by Stephen Hall story by Tim Reynolds. Somewhere in London (1890s) a serial killer is sentenced to die in the electric chair, but he puts a curse on the whole prison before he dies. The cast includes John Rhys-Davies, Michael Yare, Elena Delia, David Pearse, Peter Coonan, Brian Fortune, Claire J. Loy, Garrett Smith, and Richard Brake.
There are plenty of films that deal with horrors in one form or another, from suspense thrillers to horror comedies to slasher films. With novels, one could say that the genre of horror is the one where the phrase don’t judge a book by its cover stands to be the most practical. It is so because the genre encompasses such a wide spectrum and is viewed far too often and much too quickly. The Gates is one of those films where the viewers might think they know what the movie has to offer, but let me assure you it completely underestimates. Even though the story has some elements that may sound cliche, it does stand out no less than an urban horror film. The ingredients of the plot might be considered classic after all, but the spin is refreshing and makes you rethink everything. The creation of the character Frederick played by John Rhys-Davies and Emma portrayed by Elena Delia, is done brutally with fierce advertising for horror and nothing less. Their determination and enthusiasm are contagious which puts the people on the receiving end in the right place.
While the pieces of the story may not necessarily shock, they do create a good amount of suspense. The focus of the opening scene is eerily supernatural and resembles a lot of what Guy Ritchie had in store for Sherlock Holmes. Despite having too much to unveil, this slow-paced story manages to grasp the interest of the viewer with its elaborate tale. The character ensemble is done perfectly with experienced actors who take control of the story in a rather interesting manner. The directorial style feels like it evolves throughout the movie. At one point, it even feels like something out of The Exorcist or Sam Raimi’s Drag Me to Hell. Although all of this might be true, the cinematography along with the overall aesthetic of the film was truly disappointing. The film was really let down by wanting too much style and looking too modern to the point that it feels insincere. This seems to keep you at a distance from the entire vibe of the movie.
Even though the challenge of the dramatic context is greatly compensated by the score and sound design which are some of the strongest features of this film, the blend of the personas of the actors who keep you captivated works wonders too. The performances can be hit and miss, sometimes leaning towards wooden acting, yet each character emanated enough charm to put those dilemmas aside. While John Rhys-Davies and Elena Delia take the towering role over the whole narration and do a marvelous job with it, it is Michael Yare who goes on to seize control of the ghostly escapade. The tale places his orchestrator of the paranormal under the sun of scrutiny and he portrays that with a lot of gigantic attitude and dramatics, pulled straight from the theater. Then, there’s a cast of other different characters, all of whom have something to add to the overall noise of fear and chaos of this story. Unfortunately, Richard Brake does not inhabit the narrative as much as expected, but he is still a satisfyingly sinister presence.
Fans of the genre and the cast will surely enjoy the show. Its Gates is so competent visually and practically entertaining but the constant flashing of the low convincing quality of CGIs can really get everyone gripped away from the story. Richard Brake’s character, the serial killer, is another missed mark as well. Not a completely and unpleasantly accurate approach to divulging his backstory. Nonetheless, the story is not completely weak. It possesses the sympathy lacking in it, which holds attention until the end, but in the end, the screaming out for more Janet comes screaming out of every horror fan.
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