Treads similar territory as Hotel Rwanda but successfully fills-in the blanks. A fine and welcome addition to the recent wave of African dramas.
Beyond the Gates (2007)
Tomatometer
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Reviews Counted:59
Fresh:49
Rotten:10
Average Rating:7.2/10
Consensus: Complex, human characters and on-location shooting give Beyond the Gates palpable tension and urgency.
Rated: R [See Full Rating] for strong violence, disturbing images and language.
Runtime: 1 hr 55 mins
Genre: Dramas
Theatrical Release:Mar 9, 2007 Limited
Synopsis: Joe Connor has come to teach in Rwanda because he believes he can make a difference. When the school becomes a haven for thousands of Rwandans fleeing the genocide, Joe promises his brightest... Joe Connor has come to teach in Rwanda because he believes he can make a difference. When the school becomes a haven for thousands of Rwandans fleeing the genocide, Joe promises his brightest pupil, Marie, that the UN soldiers will protect her from the hordes of extremist militia baying for blood outside the school. But when the UN abandon the refugees, Joe and the school's headmaster, Father Christopher, face an agonising dilemma: should they leave or should they stand firm with the Rwandans. As the UN trucks force their way through the terrified refugees, Joe stares at the tear-stained face of Marie: what should he do? What would you do? Based on real events and filmed at the actual location where this story took place, Beyond the Gates is directed by Michael Caton-Jones and stars John Hurt and Hugh Dancy. It is an emotionally gripping, authentic and powerful recreation of a tragic real life story that took place during the Rwandan genocide in 1994. --© IFC Films [More]
Starring: John Hurt, Hugh Dancy, Dominique Horwitz, Nicola Walker
Starring: John Hurt, Hugh Dancy, Dominique Horwitz, Nicola Walker, Steve Toussaint
Director: Michael Caton-Jones
Director: Michael Caton-Jones
Screenwriter: David Wolstencroft
Producer: David Belton
Story: David Belton, Richard Alwyn
Producer: Pippa Cross
Composer: Dario Marianelli
Studio: IFC Films
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Reviews for Beyond the Gates
In spite of heartfelt performances from John Hurt and Hugh Dancy, director Michael Caton-Jones ("Scandal") keeps an arm's distance from his volatile subject and fails to expand on an epic tragedy that is being replicated in places like Darfur.
Honest and moving, 'Beyond the Gates' is the best film to date about the slaughter of a million and displacement of hundreds of thousands in Africa.
Not a definitive cinematic statement on the Rwandan genocide but certainly a far preferable dramatic treatment of the atrocity than Hotel Rwanda.
Despite a true story that generates powerful feelings of rage and insult, and for all its worthy intentions, the film lacks a dramatic craftsman to make it fully engaging.
There's a fine performance from John Hurt as a Catholic priest who gives shelter to fugitives in his school, and at the end we're introduced to various survivors of the tragedy who worked on the film.
Effectively shows how good intentions without forcefulbackup can lead to impotence and disaster within aforeign culture.
History tells us there was no happy ending in Rwanda, and "Shooting Dogs" is not an easy picture to watc
A harrowing tale, with John Hurt shining as a priest whose commitment to his parishioners and students is informed by Christian love and sadness.
Despite its reliance on the white characters for drama, its biggest achievement is simply in revealing the sheer horror of the genocide.
Not only does Shooting Dogs have something worthwhile to say, it's also incredibly important. That cinema has dared to challenge the truth of the Rwandan genocide is to be celebrated.
There's no way this story could ever have made a bad film, but a script that refuses sentimentality and fine acting elevate it just short of greatness.
Where Hotel Rwanda was slick and professional, Shooting Dogs is both more earnest and more awkward.
Caton-Jones orchestrates the spiralling violence with considerable dexterity, revealing a keen understanding of how, in the wrong circumstances, human beings can and do inflict the most barbaric cruelties upon one another.
A passion project for those involved, it is angry and earnest and highlights an episode the international community have never quite dealt with: how it sat back and watched as thousands of Africans were killed.
Shooting Dogs falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist.
For all its righteous (and rightful) anger, Shooting Dogs is itself a curiously detached and compromised experience, unfolding stubbornly from the perspective of its white characters.
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