Writers: S. Craig Zahler & Jerome Fansten
Director: Alexander Coutres
As far as settings for a low
budget horror movie, few places that can top criminal insane asylum.
decrepit conditions, and building full of drooling maniacs that enjoy
wearing ribcages as hats can make for a fun night at the movies.
IFC Midnight's latest pickup
Asylum Blackout is a low
budget affair set mostly in one location, with director Alexander
Courtes putting the mental institute setting to good use. George and
his three bandmates work kitchen detail in an
overcrowded/understaffed insane asylum. It's good work with decent
pay and the a wall to wall thick glass window shields them from any
physical contact with the inmates. When a storm knocks out the power
and triggers the emergency security measures, the friends find
themselves locked in with a dangerous group of lunatics that are out
of their cells during meal time. Overpowering the staff, in mere
minutes the lunatics are running the asylum and the kitchen crew have
to avoid them at all costs while trying to call for outside help.
With
the exception of one inmate taking on the role of quasi ringleader,
this is mostly a faceless, anonymous bunch of crazies who hold the
advantage in sheer numbers and unpredictable nature. The second act
sets up a nice, tense thriller with one member of the crew
barricading himself in the pantry while the others tiptoe through the
corridors for a phone. The low lighting and sound of their footsteps
echoing down the hall heighten the sense that something bad can
spring out from behind every corner. Not all of the inmates are prone
to violence or even take notice of the crew. One of the best jolts
comes from an inmate casually walking across the hall to the cell
directly opposite his own and paying no attention the trio ten feet
down the hall. The last act swaps out tension for gore with a handful
of gross out scenes and one agonizing death.
The
film is set in the late 80's which takes conveniences like cell phone
and wireless internet off the table, and isolates the crew from the
outside world. The setup of having the staff all part of a band works
for a couple reasons. First, it's totally believable that these type
of guys would work in this establishment. It's the kind of thing they
would think makes for a great story one day in a future Spin magazine
profile once they “make it”. Band insecurities also provides a
realistic source of tension between lead singer George (Rupert Evans)
and hot headed guitarist Max (Kenny Doughty). Evans comes off as the
grounded and thoughtful one of the bunch, and he's an easy character
to root for. The film also has its characters (aside from the
stereotypical asshole security guard) making smart choices, but also
shows how they're in over their heads and woefully underprepared for
the situation.
Asylum
falls victim to a few storytelling liberties. For example, why are
there so few guards on duty in the first place? Aside from the
asshole head security guard, there's three others tops, and they get
taken out with ease. For that matter where is the rest of the staff?
Aside from one nurse, there are no other medical crew on site. Even
if it the action took place late at night, there should be a skeleton
crew on board making the rounds. It doesn't make sense to ask your
staff cook to show up at seven am for deliveries but not have medical
personnel on board. While the budget has to be taken into account,
it's hard to believe you couldn't hire a half dozen extras at fifty
bucks as pop to walk down a hallway wearing a lab coat and holding a
clipboard.
On
the other hand, it's surprising to read that Courtes comes from a
background directing music videos and this is his first feature film.
I'm used to watching unwatchable dreck full of visual histrionics and
and no flair for storytelling. The end result often is an jumbled
assembly of quick cuts and fast moving camera work that looks like it
was assembled by an ADD addled teenager force fed a bag of pixie
sticks before being handed the camera. Courtes work is solid here,
setting up long shots and takes that amp up the tension as it the
situation gets more desperate. Even the climactic shots featuring a
room full of maniacs reveling in their bloody handiwork avoids the
jumpy, manic cuts its easy to fall prey to. There's even hints of
Carpenter in the score, with pulsing synth notes accentuating moments
of duress recalling the iconic music of The Thing.
The
final few minutes are going to divide reviews. I'd read a couple
reviews before watching the film and expected to be confounded by the
end. While it certainly leaves some things open to interpretation, my
own thoughts are Courtes was trying to depict the aftereffects of the
experience, it just lacked in execution. Still, it doesn't completely
mar an otherwise satisfying indie thriller.
Asylum Blackout is now
available for On Demand rental via iTunes, Amazon, Xbox Zune and Playstation Unlimited
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