Direct management of homepage and database content
Data analytics on microsite usage, interest in British films and series elsewhere on Telescope, British films and series available across platforms, and more
Functionality that enables engagement with users directly from the microsite (create a campaign, conduct a survey, build a widget)
Åkerlund’s music videos established him as a whiz-bang technician, a skill he only unleashes in two terrifying montages. Lords of Chaos proves that he can also get great performances out of a young cast, especially Kilmer’s otherworldly Dead.
As a depiction of the very public emergence of a marginal movement, Lords of Chaos provokes both awe and repulsion, but not necessarily admiration for a musical form and subculture unwaveringly devoted to literalism, no matter how extreme.
Åkerlund’s understanding is more like contempt, in a film that downplays the bigotry of the Norwegian black metal scene and shrugs off the severity of its actions with a “boys will be boys” approach that has no reverence for the scene, but doesn’t provide any insight into it, either.
Despite the film’s inherent shock value, Lords Of Chaos still manages to successfully mine the explosive psychology of adolescent angst - even if the horror movie aesthetics occasionally threatens to overwhelm proceedings.
WHAT ARE PEOPLE SAYING?
Be the first to comment about this film.
WHAT ARE CRITICS SAYING?
Variety by Amy Nicholson
The Hollywood Reporter by Justin Lowe
The A.V. Club by Katie Rife
Screen International by Nikki Baughan