Beyond the Gates of Hell (2022)

Horror /
4.5/10
80% – Critics

Beyond the Gates of Hell Storyline

In complete disregard for the ominous warnings that come with the place, Katrina and Ian buy their dream home: a spacious, out-of-the-way property. But some houses come with baggage. And this one still bears the scars of occult influence and a long history of creepy accidents and grisly murders. Now, the unsuspecting couple has unexplained, blood-chilling encounters with cryptic figures that excite the new tenants’ nagging suspicions. Why is the basement off-limits? Who would invite terror from beyond the gates of hell?—Nick Riganas

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Beyond the Gates of Hell Movie Reviews

Fun Italian throwback

Starting with grindhouse-style trailers for Zombie Blast Fighter and Don’t Eat My Flesh (and how great of a title is that?) and then following that with a murder straight out of Lucio Fulci, this movie presents a forty-plus-minute tribute to the godfather of gore’s three bloodiest films The Beyond, Gates of Hell and The House By the Cemetery all with a modern flair.

It’s smart because it even contends that the murder that drives the entire film happened in 1981, the same year that Fulci was popping eyeballs on screens worldwide.

Ian (Eric Larsen), who works in the movie business but keeps getting screwed over, and Katrina (Traci Burr) have just bought a new home when they’re made an offer by the very real estate agent who sold it to them, Sheryl (Brinke Stevens, always a beyond appreciative face to see show up in any movie and used to incredible effect here). She wants to offer them a hundred grand over asking price to get out of their house.

Does that seem strange? Look, I bought and sold a house in the middle of coronavirus lockdown so I’ll believe everything after what we went through.

The reason? The old owner — who also worked in films — was a suspected devil worshipper who was burned alive in the basement of the house. What was his name? Schweick? To make things worse, just the year before, a young girl had been stabbed in the basement.

Now, Katrina worries that Ian moved them in so he could get material for a new film. Or is it even worse and are they doomed to relive the same cycle as ten years before? Would you want to live in a home built over the gates of hell? What if it came with its own housekeeper (Allie Perez) who just randomly shows up while you’re in the shower and claims she’s part of owning the house?

From there, all sorts of dark and bloody events unfold, like Father Tom (Brad Banacka) trying and failing to bless the home (can the Amityville house be considered adjacent to the Fulci Cinematic Universe?) to Ian and Katrina’s daughter Heather (Janet Lopez) getting stalked by Jennifer to — of course — the blind Henrietta (Jennifer Moriarty) showing up to reveal the secrets of this house. If you’re wondering if zombies will show up, well, you’re on the right track.

Thanks to perfect music by Joshua Palace and the most assured direction and writing I’ve seen from Dustin Ferguson, Beyond the Gates of Hell rises beyond its low budget origins to create a film that follows the Fulci formula as if it were a cover band standing in admirably for a band we’ll never be able to see play live ever again. Before you get critical of someone redoing Fulci, well, wasn’t Zombi intended to redo Romero? And if we love Italian exploitation cinema and demand originality, we can’t have those two things at the same time. It was all based on remaking and remixing past films to create new experiences.

Here’s hoping that Ferguson rides the wave of this success into creating movies of his own that can rival the past that he adores so much.

A fantastic independent film

BEYOND THE GATES OF HELL as great acting, cinematography, sound design, and music. The storyline is tight and clever. Everyone put their heart and their professionalism into this. I love the effect of the old school grainy screen; this enhanced the films texture.

My favourite performances were from Jennifer Moriarty and Brad Banacka. Still, I loved and admired everyone else’s performances.

Joshua Palace’s interpretation of Fabio Frizzi’s musical style was fun to enjoy and it enhanced the movie’s suspenseful buildup.

If there is one indie movie you see this year, make it this one. Bravo, Dustin Ferguson, and bravo to his entire team.

A wholly enjoyable throwback that does have some minor issues

After buying a new house, a couple is shocked to learn the real estate agent wants it back from them but decides to stay, soon realizing that the demonic events of the past must’ve been started up again and have ensnared them in its plans.

On the whole, this is a pretty fun and enjoyable genre throwback. That comes about through the presentation which includes the visual aesthetics and a series of references that showcase a nice bit of love for the genre fare from the past. Other factors, from the messy effects-work on the creature that contains several references to further the connection and several storyline beats. Mixing together points from several films into this singular plotline, it allows for a solid base to tell its own story involving the desire to reclaim the house from the couple just after moving in, the strangers who keep showing up at the house, and the attempts at manipulating who’s shown up that are in place to signal various forms of demonic activity are in place to bring about a nefarious plan to destroy them. On top of that, there’s a lot of fun here involving the build present here, managing to pull off a great build-up to their plans coming to fruition that serves to fully unnerve her. As the meetings, strange behavior, and unsupportive husband finally take their toll, this one picks up considerably as the events here turn from demonic chantings to a zombie outbreak as they get resurrected for a brief cameo at the end. Still, all of this comes across way too quickly as if the homages to the past are supposed to make it all come together as nothing has time to be revealed or fleshed out properly due to the film’s origins and excessively short running time. This really could’ve used more to connect the various plot points together as very little makes sense or is explained, and is what brings this one down.

Rated Unrated/R: Graphic Violence, Graphic Language, and Brief Nudity.

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