*The Gates*, by John Burr, is a thriller about three Black college students who find themselves trapped in a gated community in Texas—one populated predominantly by wealthy white residents. The young men are viewed with suspicion and, eventually, hunted through the neighborhood as if they were criminals. Undoubtedly, the film aims to convey the anxiety and terror experienced by people of color when they are stopped by a white police officer or accused of a crime based solely on their physical appearance.
It also confronts the ways in which Christianity can be performative—used as a mask to conceal all manner of hateful ideologies and behaviors. Given all this, Burr’s film could elicit an intense reaction from viewers, one way or another. Some will dismiss the material, labeling it "woke"; though, in all likelihood, if they use that term pejoratively, they wouldn't have watched *The Gates* after reading its synopsis anyway. Others may wonder if Burr goes too far—or even if he doesn't go far enough. Be that as it may, the scenario presented feels more realistic than most Americans would be willing to admit.
Director: John Burr
Writer: John Burr
Stars: Mason Gooding, Algee Smith, Keith Powers
Regardless of how truthful (or not) viewers deem the film’s portrayal of racial dynamics in suburban America, Burr delivers an absorbing 90-minute thriller. This is due, in large part, to Mason Gooding, whose charm and amiable screen presence have elevated several slashers in recent years—including last year’s *Heart Eyes*, a film well worth a second watch. He plays Derek, who is studying for law school when he receives a visit from his friends, Kevin (Algee Smith) and Tyon (Keith Powers). They want to take their friend to a party, and after taking back roads to avoid heavy traffic, they end up on a residential street that leads to the entrance of a gated community. To pass through the neighborhood, they need an access code. One of the residents—a white woman—stops her car alongside the trio. They ask her to enter her access code so they can get to their party. "You want to go *in* there?" she asks with an ominous incredulity. Despite this, she lets them in, as if to say: "Suit yourselves." And, just as was foreshadowed, the residents take one look at them and determine that they "aren't from the neighborhood."
After passing mansion after mansion, they find an exit gate at the other end of the community. Trapped, they decide to approach the nearest house and ask the owner to let them out. Kevin and Tyon are reluctant for obvious reasons; even Derek—who doesn't believe that all white people are racist—takes off his hoodie before approaching the door, just in case he becomes a target of prejudice. However, looking through the window, they witness a scene of domestic violence between a white couple.
During a violent argument, the man shoves the woman; she hits her head and collapses, apparently dead. The man then notices the three friends standing at his door, grabs a gun, and chases after them. The man is Jacob, played by the late James Van Der Beek in his final film role. The actor crafts a detestable character who—despite his disheveled appearance in that moment—turns out to be a megachurch pastor with plenty to hide. Nevertheless, he commands the trust of his neighbors when he claims that the young men are murderers.
It is refreshing that *The Gates* does not divide its characters strictly along racial lines. Not all Black characters are persecuted victims, nor are all white characters racist villains. Take the case of Christopher (Brad Leland), a cautious man who helps Derek and his friends. He listens to their story and—although he doesn't fully believe them at first—he redeems himself later on. There is also Roxy (Sofia Hublitz), who appears to be trapped at a party hosted by a neighborhood lout.
She hopes that Kevin and Tyon will help her leave, but they end up becoming entangled in the stereotypes that young white suburbanites hold regarding African Americans. On the other hand, Derek spots a Black woman (Natacha Ellie) and assumes she will help him. She does not. Yet, just as the film presents exceptions, it also reveals certain fundamental truths: consider the moment when a preteen grabs his father’s rifle and aims it at our protagonists—more than willing to invoke "Stand Your Ground" laws to justify murder.
Much like his treatment of racial issues, the critique Burr offers regarding the way some Christians use biblical verses—and appeal to the "will of God"—to justify decidedly un-Christian actions is not based on simplistic generalizations.
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