ASYLUM

Passions run wild at a correctional facility in ASYLUM. Max Raphael has accepted a high administrative role at a correctional facility for those with psychological disorders. Max, along his wife Stella and son Nick live in close proximity to the facility, with several inmates serving as groundskeepers for their estate. Max doesn’t pay much attention to Stella, except to school her in proper etiquette so she is deemed acceptable to his colleagues. Stella meets an inmate named Edgar through Nick, and after several brief encounters, begins an elicit affair with him.

Very few films have as contemptible characters as ASYLUM, or as much contempt for their characters. More or less, all of ASYLUM’s characters are mad, with their characteristics ranging from passionate to calculating to cruel. Whether its love, power or money, these characters are obsessed with these entities and will do anything and everything to achieve them. The last time I can remember viewing such despicable individuals, was the well-directed and well-acted CLOSER. It should come as no surprise that scribe Patrick Marber wrote both CLOSER and ASYLUM. Both films are cold and calculated, more concerned with utilizing its characters for twisted storylines than understanding them. Where CLOSER seemed unrealistic, ASYLUM feels preposterous. Natasha Richardson and Ian McKellan play their characters earnestly even if Stella and Peter aren’t deserving of their talents. This cold harlequin film should be avoided at all costs.

Grade: D+