“DOOM ASYLUM”— A Demented Coroner


A Demented Coroner

Amos Lassen

The basic story of “Doom Asylum” is simple— a demented coroner uses autopsy equipment to kill off the teenagers who trespass on the long-abandoned asylum he inhabits. Released in 1987, “Doom Asylum” is a mix of gore, gags and Goth girl groups. When a group of horny teens wind up on the grounds of a creepy abandoned asylum, they think they’ve found the perfect place to party. What they do not know is that inside the building is a freakishly deformed maniac, driven to madness by the tragic loss of his fiancée in a car accident. He has a collection of grisly surgical tools at his disposal and it’s only a matter of time before the youngsters begin meeting various gory ends at the hands of the ghoulish Coroner. Directed by director Richard Friedman the film combines outlandish gore and a smart-talking villain to give us a wildly entertainingly blood-spattered slasher.

Filmed in New Jersey, “Doom Asylum” is filled with cheesy glory. After a violent car accident, a man discovers his mutilated lover’s body beside him (he clutches her bloody hand while crying like a baby). Burnt and mutilated himself and thought to be dead, he awakens from the coroner’s slab, killing two men and taking refuge in the basement of an asylum that eventually becomes abandoned. Ten years later, a mixed group of teens arrive at the asylum one sunny day and meet Tina and the Tots, an obnoxious all-girl punk band practicing there. The two rival groups become fodder for our flesh-rotted killer, who kills the teens using a variety of medical instruments.

Obviously meant as a satire on the slasher scene, the killer (Michael Rogan) constantly speaks in wisecracks. The gore effects are for the most part too over-the-top to be really effective. The dialogue here is (intentionally) inane and absurd. Years before her “Sex and the City” success, Kristen Davis plays a brainy type. The movie is filled with cheesy eighties humor and tacky horror spots. The film could have gone wrong in so many ways, but instead turns out to be a real treat. As we approach the conclusion, the horror certainly tightens. There is quite a lot of incredibly cheap looking gore here and what I really like is that this is a film that makes fun of itself. It’s intentionally overdone in spots and is not a movie to take seriously. It’s just fun.

Bonus features include:

Archival Interviews with producer Alexander W. Kogan, Jr., director Richard Friedman and production manager Bill Tasgal

Morgues & Mayhem – a brand new interview with special make-up effects creator Vincent J. Guastini. Movie Madhouse – a brand new interview with director of photography Larry Revene.

Tina’s Terror – a brand new interview with actress Ruth Collins

Brand new audio commentary with The Hysteria Continues

Brand new audio commentary with screenwriter Rick Marx

Optional English subtitles for the deaf and hard of hearing,

Original uncompressed PCM mono audio , 1.85:1 and 1.33:1 versions of the feature

High Definition Blu-ray (1080p) presentation

Brand new 2K restoration from the original camera negative S

till Gallery, Reversible sleeve featuring original and newly commissioned artwork by Justin Osbourne

FIRST PRESSING ONLY: Fully-illustrated collectors booklet featuring new writing by Amanda Reyes

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