Given a relatively abbreviated runtime, this doesn't waste much time before giving us abnormal goings-on, and just as much to the point, it launches us directly into the plot as protagonist Lucina suddenly finds herself awakening in the institution. Given an obvious low budget, the nature of those abnormal goings-on are relatively low-key and demure except in select, judicious instances. Given either the inexperience of the actors, the inexperience of filmmaker William Girdler so early in his brief career, or perhaps both, one might well observe distinct rough edges all throughout. It's not that anything is abjectly bad here, including the performances, only that the limitations of the production are evident from every corner. With all this having been said, the scenario presented to us is certainly sufficient to catch our attention and find out what exactly is going on, and for all the weaknesses and lack of resources that we observe, more than not it's suitably well made within its tenor. It's safe to say that 'Asylum of Satan' is far from a premier title, and it's probably best reserved for those who will watch anything and enjoy seeking out the far reaches of genre cinema. It's worthwhile on its own merits even as it is, however, and something comparatively light and uninvolved for a quiet day.
Girdler had access to some fine filming locations. While the sets and and costume design reflect a fairly spartan ethos in keeping with what the production had available to it, when more effort is applied toward dressing those sets - and above all toward elements like stunts, effects, and makeup - the result is just swell, if modest. Why, "effort" is a key word here; in every way it's evident that all involved had little to work with, barely above the level of "home movie," but they put their best foot forward to create this small genre flick. I won't lie, some of the constraints this faced and the subsequent shortcomings do make for a troubled viewing experience, especially when it comes to poor lighting, some deficient editing, and overall low production values. Yet I see what the feature tried to be, and the energy that everyone put into it, and I don't think it's expressly bad, just hampered in terms of what it could achieve. To the same degree that some moments are decidedly weaker, there are also some scenes that are admirably well done, obviously demonstrating instances for which resources were kept in reserve. True, there is also some broad unevenness in the storytelling, yet more than not I appreciate what Girdler, his cast, and his crew sought to do with 'Asylum of Satan.'
There's nothing so special about this as to demand viewership, and it bears repeating that the low-budget nature of the picture places substantial upper limits upon it. For what it is, however, I think there's a lot to like here, and for my part I'm rather pleased with the end result. Again, leave this for the curious and the diehard genre fans, but if you do have the chance to check out 'Asylum of Satan,' I think it's a fine example of what enterprising filmmakers can achieve with only a few dollars and a lot of heart and imagination.
Girdler had access to some fine filming locations. While the sets and and costume design reflect a fairly spartan ethos in keeping with what the production had available to it, when more effort is applied toward dressing those sets - and above all toward elements like stunts, effects, and makeup - the result is just swell, if modest. Why, "effort" is a key word here; in every way it's evident that all involved had little to work with, barely above the level of "home movie," but they put their best foot forward to create this small genre flick. I won't lie, some of the constraints this faced and the subsequent shortcomings do make for a troubled viewing experience, especially when it comes to poor lighting, some deficient editing, and overall low production values. Yet I see what the feature tried to be, and the energy that everyone put into it, and I don't think it's expressly bad, just hampered in terms of what it could achieve. To the same degree that some moments are decidedly weaker, there are also some scenes that are admirably well done, obviously demonstrating instances for which resources were kept in reserve. True, there is also some broad unevenness in the storytelling, yet more than not I appreciate what Girdler, his cast, and his crew sought to do with 'Asylum of Satan.'
There's nothing so special about this as to demand viewership, and it bears repeating that the low-budget nature of the picture places substantial upper limits upon it. For what it is, however, I think there's a lot to like here, and for my part I'm rather pleased with the end result. Again, leave this for the curious and the diehard genre fans, but if you do have the chance to check out 'Asylum of Satan,' I think it's a fine example of what enterprising filmmakers can achieve with only a few dollars and a lot of heart and imagination.