Written and directed by Stephen Hall, co-written by Tim Reynolds, a serial killer has been sentenced to death by electric chair in London in the 1890s, but in his final hours, he puts a curse on the prison he is in, and all of those in it. Starring: John Rhys-Davies, Michael Yare, Elena Delia, David Pearse, Peter Coonan, Brian Fortune, Claire J. Loy, Garrett Smith and Richard Brake.
Horror is possibly the genre where the idea of don’t judge a book by its cover is most important, and that’s because it’s so often and so quickly judged but it can also surprise you the most. The Gates is one of those films, viewers may assume they know exactly what it has to offer and underestimate it, but just because it has familiar elements, doesn’t mean it can’t add its own spin. That’s exactly what it does, the ingredients of the story are familiar but it’s the atmosphere that it creates and the characters at work which make the difference. Starting with the creation of John Rhys-Davies’ Frederick and Elena Delia’s Emma, they’re enthusiastic, determined and charming, which kicks things off on the right note.
From there, while the pieces of the story are unlikely to shock, they do build a good amount of tension and hold your attention well. The opening scene feels like a throwback to Guy Ritchie’s Sherlock Holmes, it hits a louder note of horror before calming into a gradual, supernatural tale. From there it can move quite slowly and leaves a lot until the last minute but it still works, with a good ensemble of characters to keep things interesting. The directorial style tends to evolve throughout and even at one point feels like a nod to films like The Exorcist or Sam Raimi’s Drag Me to Hell. Although the cinematography and overall quality of the aesthetic really let the film down. It feels too modern and insincere, it keeps you at a distance, you can’t delve into it fully when it doesn’t truly feel in tune with the era.
Although one of the elements which offsets that struggle is the score and use of sound, which are one of the strongest aspects in building the film’s tense atmosphere. As well as the work of the cast who give a great blend of personalities that keep you glued in. The performances can be hit and miss, with the occasional wooden moment but they each bring enough charm that those issues get pushed to the side. While John Rhys-Davies and Elena Delia feel like the hosts to this bigger story and do a superb job of it, it’s Michael Yare who goes on to take charge of their ghostly adventure. The story puts his supernatural investigator through the wringer and he portrays that with a lot of big energy and dramatics, it’s very performative and theatrical. There’s then a host of other characters who all have notes to add to the fear and turmoil of this story. Sadly Richard Brake doesn’t play into the story as much as hoped but he’s still a satisfyingly sinister presence.
The Gates is a surprisingly entertaining foray into the supernatural, led by a great cast. The main obstacle standing in its way is the visual quality, it’s just not convincing enough, it’s got one foot in today and isn’t fully throwing itself into the era, which keeps things at arm’s-length. There’s also a few unexplored threads, especially when it comes to Richard Brake’s serial killer, sadly missing out on divulging his backstory fully. While it may have those weaknesses, the way that it holds itself and the atmosphere that it builds, makes it more than worth watching for any horror fan.
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