Director John Burr brings together the talents of three rising actors and the late James Van Der Beek for his sophomore film, “The Gates,” produced by Lionsgate. Burr also wrote the film’s screenplay. The story begins with a bloodied Derek (played by Mason Gooding) pointing a gun at police officers before the narrative jumps back twelve hours to explain how he ended up in that situation.
Derek is preparing for the bar exam when his friends Tyon (Keith Powers) and Kevin (Algee Smith) arrive to take him out for a night on the town. Tyon is a star college football player, while Kevin sells cars. There is some tension between Kevin and Derek, stemming from their differing perspectives as Black men—this becomes evident when a police officer pulls them over. Kevin gets defensive, but Derek can diffuse the situation because he knows the officer.
While stuck in traffic, the trio decides to take a detour, which leads them to a gated community where they witness Jacon (Van Der Beek) commit a murder. They spend the rest of the night trying to find a way out before Jacon tracks them down. Along the way, they encounter both helpful residents and those intent on causing trouble.
On paper, “The Gates” could have taken one of two directions: Burr’s script could have served as an allegory on race relations or as a traditional survival film. However, for the most part, Burr doesn’t fully explore the former and instead focuses on the trio’s attempt to escape.
Mason Gooding, whom I consider the next great Black Scream King, uses logic to navigate their predicament, while Algee Smith’s character, Kevin, relies on street smarts. Powers portrays Tyon with a blend of both qualities, along with just the right amount of charm. The chemistry among the three leads is strong, and I would love to see them collaborate on another project in the future.
James Van Der Beek delivers a solid performance in one of his final roles. He has successfully moved beyond his teen-idol status on “Dawson’s Creek” and has consistently worked in character roles since then. Similar to Luke Perry, Van Der Beek demonstrates his versatility in “The Gates” without becoming overly melodramatic.
By avoiding common tropes associated with Black trauma and keeping the runtime concise, “The Gates” is a decent watch for fans of the genre and cast.
Final Grade: B
“The Gates” opens in theaters today.
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Civil War dramas often measure valor through cannon fire and cavalry charges. However, “The Gray House*“valuates valor through coded messages, calculated risks, and the steady nerves of women who understood that information could be deadlier than any rifle. This eight-episode limited series reframes the conflict not from the battlefield, but from the drawing rooms of Richmond, where loyalty is performed, and survival depends on silence.
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