This Perth-produced sci-fi thriller earns a B+ for ambition, but can’t quite make the grade anywhere else.
Jane Chandler’s (Jacqueline McKenzie) time is unevenly split between her family and her all-consuming job as a particle physicist on the brink of creating a functioning teleportation device. A breakthrough in her work reveals that her machine does not in fact transport matter, but instead sends it to a parallel universe; a revelation put on hold abruptly when Jane’s husband (Myles Pollard) is killed in a car accident. Overwhelmed with grief and unable to cope without him, she journeys to a parallel universe to bring back another version of her husband – without realising that the universe he is from has dark and violent tendencies.
The term ‘know your limits’ exists for a reason. It’s a rule that applies to filmmakers too; your idea may be bold, but that might not outweigh the resources you have available to you or the cliché-ridden script that embalms it. Someone should probably have told this to director/co-writer John V. Soto (Crush, Needle), whose heart is most certainly in the right place, but really should have been a bit more creative in bringing his sci-fi thriller The Gateway to life.
There’s always juicy potential in a premise that involves teleportation and multiple variations of our universe, and Soto starts engagingly enough with the determined Jane and her lab partner Regg (Ben Mortley) racing against the clock to make their matter-transporting passion project come to life before their executives cut their funding. It might not be such of a problem for international audiences, but right off the bat, the very blatantly Perth setting throws any credibility straight out the window – at least for local viewers. Perth audiences will no doubt scoff at the idea that our government would possibly commission scientists to experiment with the unbelievable, instead of, say, spending tax dollars on more speed cameras. Amazingly, in a film that features reality-hopping and lethal alien tasers, this is the most far-fetched concept.
Soto’s biggest downfall is shooting for that Hollywood blockbuster feel on a budget that is barely a fraction of their cost. As a result, his dependence on visual effects derails proceedings, bleeding the little money the production had into a hodgepodge of tacky CGI. Worse is the poor lighting palette and filters (particularly in the drab dystopia of the parallel world), which gives this the shabby feel of a Syfy Channel original.
Soto should have looked to his micro-budgeted peers for inspiration. Take James Ward Byrkit’s Coherence, for example. On an even smaller budget, it managed to be far more engaging and thought-provoking without the reliance on any visual trickery, simply because it focused instead on making its characters strong and ideas heard. And as a local filmmaker, Soto should have taken a leaf from Ben Young’s book; last year’s Hounds of Love was miniscule in scale and yet enormous in impact and resonance. Bigger is not always better – what’s the point in copying Hollywood when forming our own creative identity is much more interesting?
It’s not all bad of course. Jacqueline McKenzie does her best in attempting to elevate the material, as does Ben Mortley in forming a likable enough partnership. The early mix of science and family stuff fares fine separately; it’s just unfortunate to see it culminate in Myles Pollard doing his best Robert Patrick in Terminator 2 impression to become killer dad and hunt down his family. As tempting as it is to support local productions, the truth is you can see the same elsewhere and executed much more successfully.
The Gateway is available in selected Australian cinemas from May 3
Image courtesy of Rialto Distribution