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Of course, compared to the rest of the world, all of Norway is Euronymous, a chilly exterior masking a comfortable paradise. Then the camera pans to Euronymous, and Culkin’s expression is clear: He could never be that extreme - and he’s jealous. Åkerlund soaks in the fans’ ecstatic faces and Dead’s numbed pallor, which suggests he barely feels pain. On stage, cherubic blonde singer Dead (Jack Kilmer), who claims bullies once beat him so badly he momentarily died, slices his arms to spray gore on the crowd. Euronymous might be Mayhem’s mastermind, but his bandmates supply the blood. He’s popular and charismatic, and his parents not only fund his record shop, but send him a congratulatory bouquet, which he shamefully hides under the counter. The problem with Euronymous is he has no problems.
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Instead, the film focuses on the moment a needle touches vinyl - a closeup he shoots twice - as well as the joy of listening to devilish thrills, and the exhilaration of head-banging, the boys’ long locks whipping so fast across the screen the image looks strobed. Non-metal fans might not even hear the difference, and Åkerlund and co-writer Dennis Magnusson don’t wedge in lectures about tritone chords and double-bass drumming. He shows us the Volvo in Euronymous’ parents’ front yard, and his kid sister assuring that his at-home black hair dye looks totally wicked.Īt first, the band kinda sucks. You’d think that’d make him cool, but Åkerlund wisely doesn’t buy it. With Mayhem, and later his own record store and label, Euronymous shaped the Norwegian Black Metal scene. He’s merely evil adjacent, no matter how much he spouts off about satanism and heckles old ladies on the streets of Oslo. Far more effective is a scene in which a blank young man relaxes in his middle-class home shortly before killing a stranger for no reason at all.Euronymous, a slender, swaggering kid with glass blue eyes, vows he’s evil incarnate. Periodically someone rails against religion and conformity for a bit of lukewarm rebel posing, but all this soon sounds like a broken record at a party you’d like to leave. The character here certainly has a gift for dubious choices and bad company, including a singer portentously named Dead (Jack Kilmer, exuding low-key, melancholic charisma), and a creepy enthusiast, Kristian Vikernes (Emory Cohen), a.k.a. It’s never clear why things go as wrong as they do, other than Oystein’s brand marketing was disastrously successful.
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He doesn’t seem to care much about those bodies, including that of a gay man who is sexually lured, and brutally murdered, by one of Oystein’s cohort. He skates over the story’s sociopolitical stakes but goes hard on the cheap shocks: a dead cat hanging from a ceiling like a fixture, bozo fans gnawing on a severed pig’s head mid-concert, close-ups of knives digging and plunging into bodies. The tone unproductively veers from the goofy to the creepy, which creates a sense that he was still figuring it out in the editing. Written by Akerlund and Dennis Magnusson, the screen version centers on Oystein Aarseth (a nicely slippery Rory Culkin), an entrepreneurial musician and professed Satanist who adopts the stage name Euronymous, after a Greek flesh-eating demon.Īkerlund, a veteran music-video director who intersperses “Lords of Chaos” with mildly surrealistic bursts, never establishes a coherent or interesting point of view. (They torched churches.) The bleak story is charted in the book “Lords of Chaos,” whose sensationalist subtitle - “The Bloody Rise of the Satanic Metal Underground” - could serve as the movie’s elevator pitch (though “rise and fall” would be more accurate for the movie). Norwegian black metal started to make mainstream news when some of its adherents were arrested on charges of murder, arson and other crimes. In this case, their clubhouse was the Norwegian black-metal scene of the 1980s and early ’90s, which combined anomie with face paint, speed metal and Linda Blair’s devilish vocalizations from “The Exorcist.”
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Lord of chaos movie movie#
Inspired by a true story, the movie ladles up lots of pulpy bits and buckets of blood to tell a depressing, depressingly familiar story about what happens when young men with apparent means and a whole lot of free time get together to build their own precariously hermetic world. The director Jonas Akerlund works hard to deliver on the title of “Lords of Chaos,” a tale of bad music and terrible deeds.