One of the Smiths did something so terrible, the surrounding community has shunned the entire family. Actually, in a world where O.J. and Casey Anthony exist, it hardly seems worth gossiping over, but Bleeding considers it absolutely shocking. So notorious is the crime committed by one of them (we can guess who in about three seconds), the righteous drifter Nick has come to administer God’s wrath. Of course, he commits the very sins he is there to punish, after abusing the family’s trust and compassion. Indeed, this is how Evangelicals act according to Bleeding’s ugly world view.
Frankly, Bleeding initially shows a fair amount of promise. Gelatt creates an effective atmosphere of foreboding, leading viewers to wonder what they did that was so profoundly sinful. Yet, the revelations are so pedestrian viewers will be shaking their heads in disappointment before the film is even half over. All the audience is really left with is a few scenes of bloodletting (literally), and an Elmer Gantry from Hell only the makers of The Ledge could give credence to (a film that coincidentally preceded Bleeding at the Gateway.)
Apparently basing his performance on Tom Wolfe, Patrick Breen projects a legitimately evil charisma as the cream suited Nick. However, his character is deeply problematic, lacking even a consistency of purpose beyond the villainy required by the shallow screenplay. Richard Bekins is not bad either as dumb old dad, but as daughter Gloria, Alexandra Chando’s underwhelming Wednesday Addams routine essentially gives the game away (such as it is).
