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By midlandsmovies, Apr 15 2019 08:40AM



Lords of Chaos (2019) Dir. Jonas Åkerlund


Adapted from the book of the same name, Lords of Chaos is directed by notable Swedish music video filmmaker Jonas Åkerlund and his knowledge of the music industry has turned from Madonna’s upbeat Ray of Light video to a much more sinister story here in this dark musical journey.


The director has made concert films of Beyoncé and Jay Z, Taylor Swift, Roxette and much more recently, and apt, German heavy-metallers Rammstein. In Lords of Chaos we follow Rory Culkin as guitarist Euronymous, the co-founder of real-life Norwegian black metal band Mayhem.


Recruiting a new Swedish vocalist called Dead, the new singer takes their dark persona to extreme measures including self-harm before the band meets a super-fan named Kristian (Emory Cohen) who is dismissed by the group. One day, in a scene of horrific mutilation, Dead cuts his arms and then his throat before killing himself with a shotgun to the head. The gruesome scene is one of many disgusting sequences of body mutilation and nihilistic violence and be aware, Lords of Chaos caters for those with the strongest of stomachs.


Maybe darker than the hideous death itself, Euronymous takes a photo of the scene – which is eventually used as an album cover (!) – before opening a shop that becomes the focus of their underground music scene.


With members becoming known as the "Black Circle", fan Kristian renames himself as Varg Vikernes and his strong anti-Christian views leads him join the band and then burn down churches. Whilst another member, Faust, kills a gay man in a park and their crimes are brought to the attention of the police.


A power struggle between Euronymous and Varg emerges – with each retreating into their own reality where Euronymous reveals his persona to be mostly a bluff whilst Varg’s increasing erratic and extreme behaviour leads him to arm himself for a confrontation.


Rory Culkin as Euronymous is fantastic and although its been said that the film uses a mixture of American accents, with ever-so-slight Scandinavian twangs, the choice merely seems to be one of commercial accessibility. Emory Cohen as Varg Vikernes matches Culkin beat for beat with a menacing and threatening portrayal of an unhinged extremist.


The support cast tackle the dark themes well and the film has a reality to its traumatising images. Shockingly the story has a morbid ending and many of the themes are somewhat contradictory. Culkin seems both sympathetic yet often unappealing at times and the movie explores themes of life-threatening hobbies, the occult and, more simply, the notion of celebrity and authenticity.


In my review of Vox Lux I stated that one problem of that film was the inclusion of music (pop) that I don’t have a large interest in. Here, black metal is not hugely my thing either, but I definitely sway towards the darker aspects of rock and its associated imagery which the film goes to the furthest extremities of.


Whilst band members dispute the historical accuracy of some of the events in the film, it is then somewhat ironic the film concerns itself with character dualism, surface personality and the nasty (re-)actions of the each member. And Lords of Chaos dramatizes a bleak story with a great combination of multi-layered performances and grave scenes of violence. Although not for everyone, Lords of Chaos will satisfy metal and horror fans but goes beyond both is musical and genre origins for a much more intense experience. Ghastly but gratifying.


★★★★


Mike Sales


By midlandsmovies, Sep 28 2017 09:00AM

The Devil’s Candy (2017) Dir. Sean Byrne


Dark horror The Devil’s Candy tells the story of troubled artist Jesse (played Ethan Embry) who moves to a remote country house with his wife Astrid (Shiri Appleby) and daughter Zooey (Kiara Glasco).


As with all these things, once they unpack Jesse begins to hear voices whilst he frantically paints Francis Bacon-esque demonic pictures that have an eerie premonition-like reality to them. As well as haunting sounds, an awkward loner called Ray arrives at the house insisting he used to live there but is aggressively refused entry by the father.


As a second painting begins to form, the horrific scared faces of burning children are lost on Jesse who uses the mental anguish to return to an art world that shunned him. The film uses broad brush strokes from the genre but adds some metal-music infused excitement to the usual round of killings and disturbed slaughter.


A red Flying-V guitar, which plays a part in the story’s development, resonates with weighty devil-like rock and the constant Black Sabbath-style power-chord strumming is deafening and traumatizing in its repetition. As a fan of that genre of music it was refreshing to see this traditional family entrenched in some good heavy metal – especially as it wasn’t Rob Zombie for a change.


The colour red is prevalent throughout – an obvious trope that plays like some kind of alternative American Beauty – which symbolises future bloodshed, but the film is well shot and the actors believable in their off-kilter family roles.


The film could have done without an even more blatant slide into religious ‘Jesus’ imagery towards a flaming finale but the thrills and intense pleasures come from a genre film well executed with a ‘killer’ soundtrack.


7/10


Midlands Movies Mike

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