THE GATES -- A Future Cult Classic

Review by Chadd Clubine

What makes a movie a cult classic? Sometimes it’s a film that critics and audiences initially pan, only for it to gain appreciation and a devoted following years later. Other times, it’s a well-executed concept that simply slips under the radar when it first releases. The Gates fits squarely into the latter category. With familiar faces like Mason Gooding and James Van Der Beek, the film already offers a reason for curious viewers to take notice. For some, there may even be an added incentive to seek it out as a show of support for Van Der Beek. With its limited release arriving this weekend, this is the kind of film worth tracking down and experiencing on the big screen—especially if it’s playing at a theater near you.

The Gates may feel modest in budget, but its scope is fully realized. Written and directed by John Burr, the film introduces a filmmaker who comes across as a fresh and confident voice. While its influences can be felt, the movie ultimately stands as something uniquely its own—unpredictable in its direction and rich in thematic depth. The film opens with a scene that takes place much later in the story, immediately establishing a sense of intrigue while cleverly subverting expectations. Just when you think you have a sense of where the narrative is headed, it pulls the rug out from under you. Much like the characters at its center, viewers are thrust into something unexpected—an experience that lingers well after the credits roll.

While Mason Gooding serves as the film’s lead, he’s strongly supported by two standout performances from Algee Smith and Keith Powers. The dynamic between these three characters plays an important role in driving the story forward. Each brings a distinct personality and perspective, giving the trio a layered complexity. Despite their differences, they all share a clear sense of right and wrong, which ultimately makes them easy for audiences to connect with.
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As for James Van Der Beek, this role is unlike anything he’s done before—arguably his most compelling performance since Varsity Blues. Considering his own real-life faith, it’s especially intriguing to see him portray a character who represents the antithesis of those beliefs. In many ways, his performance suggests a man who twists religion into something far more sinister, using it as a tool for manipulation and control. While the film might have benefited from giving him more screen time, Van Der Beek still delivers a striking performance that lingers long after the film ends and stands as a memorable addition to his legacy.

For a film with a 98-minute runtime, The Gates accomplishes quite a bit. Even the groundwork laid in its opening minutes is commendable, efficiently setting the stage without wasting time. Not a single scene overstays its welcome, and the film makes smart use of its resources—maximizing both its locations and its cast. The tone is consistently eerie, designed to leave viewers feeling unsettled. While the film doesn’t rely on traditional jump scares, the events that unfold give it the unmistakable atmosphere of a horror movie. Thematically, it also has plenty to say about religion and politics, making its Texas setting feel even more intriguing.

The film remains engaging for most of its runtime, though it occasionally stumbles in some of its creative choices. At times, certain performances feel a bit too over-the-top, pushing moments into territory that feels less plausible than intended. When the film aims for seriousness, it can occasionally come across as unintentionally comedic. Around the midway point, the three main characters split up, which allows the story to broaden its perspective and offer a deeper look into what’s happening within the neighborhood. When the story reaches a party, the film further explores the dynamics and mindsets of the people who live there. However, by the time the sequence ends, it ultimately feels somewhat inconsequential. The party seems like an opportunity to push the characters toward a clearer direction, yet once they leave, very little changes as a result of what just took place.
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In the end, The Gates delivers on the promise of its unique concept. The performances are strong across the board, with James Van Der Beek delivering what may be one of the best performances of his career. Its twists and turns keep the story engaging all the way through to the final credits. While the film doesn’t always fully capitalize on its thematic ideas, the moments where it does land leave a lasting impression. Because of that, The Gates feels like the kind of film that could steadily build a cult following as more viewers discover it over time.

The Gates is in theaters March 13th!

RATING: 3.5/5