- Studio: Renaissance Films
- Release Date: Mar 9, 2007
User Score
8.3
out of 10
Universal acclaim- based on 11 Ratings
User score distribution:
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Positive: 9 out of 11
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Mixed: 1 out of 11
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Negative: 1 out of 11
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JohnL.May 5, 200810
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TonyB.Mar 8, 20073A Film that tries too hard at being like honest and moving and instead falls to the hollywood stereotypes and political obsessions like so many africa-based films these days do. Entertaining, well acted, and at times powerful, but overall it comes up empty and brings little light to a done-with issue that has already been covered. A box office flop and a dull film. 3.2/10.
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RogerO.Mar 8, 20079A profoundly moving and beautiful film that gets right to the point in a real-life depiction of a horrendous genocide build up. It shows you what really happened while delivering excellent acting performances. Not afraid to tell you the truth, and always in your face to show it. One of the best films of March.
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[Anonymous]Mar 8, 20074
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LindaN.Mar 8, 20078John Hurt is magnetic as a Catholic priest running a school where terrified Tutsi have taken refuge, while Hugh Dancy, as a naive teacher, represents white commitment to black Africa at its most impotent and unreliable.
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SeanH.Mar 16, 200710It is one of the most intense, riveting and honest pieces of cinema I have ever seen. I mean no disrespect towards "Hotel Rwanda" which is a very strong and important film, but I can tell you that it simply pales in comparison to "Beyond the Gates" which was shot in Rwanda at the actual locations in and around Kigali.
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60Although in many respects a more stylish, authentic, tougher-minded film than "Hotel Rwanda," director Michael Caton-Jones' respectable and well-intentioned Beyond the Gates (aka Shooting Dogs) still falls into the trap of filtering an inherently African story through the eyes of a noble white protagonist -- in this case, two of them.
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Though hobbled by its anxious impulse to teach history to an audience that by now surely knows the basic contours of Rwanda's tragedy, the script apportions blame where it belongs (on high), while leaving smaller fry--including an admirably un-cute BBC journalist--dangling, however sympathetically, on the hook.
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50The greatest failure of the film, written by David Wolstencroft, is its inability to enter into the lives of the Rwandans, Tutsi and Hutu alike. The movie never moves beyond the tragic facts to show us the human face of either victims or perpetrators. All we get are white people shaking their heads and cursing Western governments.