I’m sorry to hear that you didn’t love it. So far, roughly 90-95% of the pro-life leaders who’ve seen it have loved it.
If you’re going to write a critical review, keep in mind that “Gates of Hell” was designed to manufacture tension. It dramatically creates a crisis so disturbing that comfortable, apathetic moderates are forced to confront the injustice at hand, for better or for worse. Much like Jesus Christ, anyone who watches the film will love, hate or fear it, and that’s by design. Indifference is just not an option.
As MLK said, justice comes before peace!
3/27, 6:55p: The movie Gates of Hell has been controversial among pro-lifers since its trailer was posted almost a year ago. In February the film was released on DVD “in honor of black history month.”
Set in 2016, Gates of Hell is a fictional documentary that follows a band of black domestic terrorists known as the Zulu 9 who literally set their sites on abortionists and abortion workers after learning blacks have been purposefully targeted for abortion for generations….
Gates of Hell was written and directed by Molotov Mitchell, a gifted pro-life filmmaker who went terribly astray this time.
Things got personal when Mitchell took apart friend and site moderator Gerard Nadal for coming out against the film after watching the trailer. Mitchell mocked Gerard for basing his review on just the teaser, promising there was more to the movie.
There wasn’t. I really wanted to like this film but have watched it twice now and have been deeply disturbed each time. I’m a provocative pro-lifer who likes to push the envelope, but Gates of Hell goes too far.
The most disturbing scene is when the Zulu 9 burst into a Planned Parenthood, indiscriminately picking off staff in their offices. I could only think of Columbine.
Ryan Bomberger has written a review of Gates of Hell from a black perspective:
I actually had to hit pause several times throughout this obvious shockumentary, because I was repulsed by what I was seeing and so angry that this creation could even be considered “pro-life”. One of my colleagues, and pivotal figures in the fight against the epidemic of abortion in New York City, Dr. Gerard Nadal, was excoriated by Molotov for daring to react to the trailer. Nadal was attacked for somehow misinterpreting the contents of a trailer that accurately reflect the entire movie.
How would I describe the film in a single word? Detrimental.
The glorification of violence, as a means toward an end, makes the film’s primary message appalling. Molotov, starring in his own film as himself, was the only person in this story who was not a fictional character. He cannot claim a fictional nature for the film, but instead one of seeming advocacy with a deeply disturbing and highly suggestive solution to a cause.
Watching the entire movie not only reinforced my own negative reaction to the trailer but also strengthened the argument that the film does not consider the overall racism that it, too, conveys.
I get that Molotov was trying in the most attention-getting way possible to spotlight the atrocity of black abortion genocide. But that is not what people will be talking about.
Molotov owes Gerard an apology.
I give Gates of Hell one star, only for its display of Molotov’s unique story-telling talent. I look forward to the day Molotov channels his creative energies into a project of value to the movement. This one wasn’t.