DOOM ASYLUM

If The Texas Chainsaw Massacre was the uncle of the 80s Slasher genre, and both Black Christmas and Halloween its step-dads, than Friday the 13 was the sub-genre's legitimate mother. For better or worse, many of the imitative films that bombarded the scene after the success of Sean Cunningham's 'Body Count' took as their model that film's illogic, scant plot-line, and lack of character development. What they gave in return were splendidly creative murder set pieces, heaping does of exploitative sexuality, and prolonged cat-and-mouse stalking scenes for immediate (as opposed to emotionally relevant) tension. Spectacle became the order of the day, and both suggestive atmosphere and thematic subtext drowned in blood. While several of the 80s Slashers were imbued with their own unique aesthetic, revelling in graphic viscera and gimmicky premises, there was a distinct lack of originality in the flurry of imitations that hit the screen after the wake of Carpenter and Cunningham. These peons to slice-and-dice satisfied as grand guignol attacks but largely failed as dramatically involving stories.

Doom Asylum must be considered a member of the later category, lacking the dramatic intentions and characterizations of superior psychological horror. Yet what the film lacks in either sense or seriousness, it makes up for in bold sensationalism -- a basic and somewhat refreshing willingness to poke fun at itself. If not a great movie, this darkly comedic slaughter-fest is at least an honest one, never pretending to be anything other than a good, gory time. Bargain basement effects, inept dialogue, and a story with plot holes big as machete gut wounds actually add to the sleazy charm of this picture, given impressive technological, polished treatment by Code Red, one of the genre's fastest growing and unique companies for aficionados of exploitation.

Entrenched in the formulaic excess and plot patterns of the Slasher -- the genre from which it was born, and which it lovingly mimics -- Doom Asylum treats its story as a skeletal frame upon which to hang its excesses of sexism, crude humor, lingering POV shots, and violence. This said, the plot evokes its share of suspenseful moments, attempting to imbue a routine stalk-n-slash premise with inventiveness of execution. When five teenagers investigate an abandoned mental hospital, they encounter an all girl punk band. Soon, the kids realize that they have made an error in judgment in visiting the hospital. "The Surgeon," a disfigured killer, is on the loose. Thought dead for a decade, he now lurks the corridors of the hospital, and is just dying to use his autopsy tools.

A rarely seen addition to the Slasher cycle that categorized the horror genre for at least a decade (inspired in large part by the imagery and themes of the Italian Giallo, itself born from the German Krimi), Doom Asylum is a bloody good time -- if you're in the mood for its infantile humor and surprisingly effective atmosphere. A barrage of nonsensical stalk and sleaze, this underground effort is devoted to rowdy, base exploitation . . . and is proud of it! Poking fun at the same conventions that it exploits -- and long before the self-referential excess of the Scream series -- the filmmakers make good on their lurid promise of sensationalism. The approach of the director is workmanlike, and the titular character a peon of over-acting, both of which invest the film with a so-bad-its-good feel. In fact, the semi-comic villainy of the killer reminds one of the Crimson Avenger from another slap-dash exploitation feast, The Bloody Pit of Horror. In short, the entire film -- from the basic premise to the acting to the direction -- is so over-the-top, so very grotesque and over-stated, that the whole thing comes off as something of an unconscious parody. Fans of splashy suspense and gore, and those looking for a wet walk down memory lane, will reap the most from this dark harvest.

Doom Asylum is just one of several new films finding a new life thanks to Code Red, which is quickly establishing a reputation as a preserver of overlooked trash-cinema rarities. This company appears devoted to unearthing movies that most DVD companies would be afraid to touch due to their politically incorrect content and commercial obscurity. More importantly, the company appears to treat its product with technical respect. This title is preserved in its original 1.33:1 full frame print, which, while showing expected signs of wear and tear, is as clear as I expect you'll ever see it. While marred somewhat by budgetary restraints and some grain, the picture has been cleaned, and the colors are satisfying in their intensity and level of clarity. Sound in Dolby Digital is clear and assessable.

The most significant extra is an Audio Commentary with director Richard Friedman and production manager Bill Tasgal, both of which are fun to listen to, and obviously enjoyed working together. These two gentlemen never over estimate the importance of the movie, and come across as true movie fans -- although they appear to have had few real aesthetic goals in making the film, and see the horror genre as little more than an excuse for tits and gore. Interviews with Friedman, Tasgal, and Alex Kogan, jr., the producer, are an informative supplement to the commentary, covering the political/economical process of filmmaking, the unique challenges of distribution, and how the business and its attitude to independent filmmakers has changed since the 80s. The origins of the film are also covered, including the producer's concern that the film had enough nudity and gore. As intensive and pleasing as these segments are, the trailer section proved to be the biggest surprise, including spots for eleven upcoming features! If these are on the way, then Code Red is without question one of the companies to watch in 2007. Trailers for such dark, grim, wonderfully offensive pictures as Boarding House, Love Me Deadly, and Human Experiments were a treat to view, as were spots for such underappreciated cult classics as Silent Scream, Nightmare, and Dark Ride. Vigilante justice rears its head in The Farmer, while Enter the White Dragon and Gang Wars look to be exciting action flicks. With such a catalogue as this, the new year looks to be bloodier than ever!

Review by William P. Simmons