Lords of Chaos

"Lords of Chaos" (2018, Jonas Åkerlund, Insurgent Media, Scott Free Films, RSA Films, Eleven Arts, Vice Films, 20th Century Fox, Arrow Films) is the semi-fictionalised telling of the infamous events around the Norwegian Black Metal band, Mayhem.


The story is told from the perspective of band founder and central member, Øystein "Euronymous" Aarseth (Rory Culkin) from his creation of the band to his murder in 1993. Throughout the film we are introduced to Øystein's feelings and philosophies on Black Metal. He feels superior and in command and soon has a small clique of similarly minded fans and other bands. He begins his own black metal label and opens a record shop called "Helvete" where metallers can socialise, drink and hear Euronymous' sporadic dark sermons and venomous rhetoric as part of the "Black Circle".


After exploiting the death of Mayhem's troubled lead singer, Dead (Jack Kilmer), for some new and darker street cred, Euronymous hires new band members including Varg Vikernes (Emory Cohen), who had changed his name from Kristian after a previous embarrassing run in with the band. Varg seemed like someone Euronymous can exploit, but it becomes evident that Varg is committed to his extremist beliefs and happy to carry out the kind of dark deeds which Euronymous had only bragged about. As the chaos escalates Euronymous finds he's lost control.


A grim premise based on true events, but with a fair amount of artistic licence. As a viewer the film was entertaining, gory, shocking and exciting. The events unfold at a pace that keeps you watching and the characters are hypnotically flawed. The portrayal of both Øystein and Varg are truly captivating to watch as these two essentially weak characters with a disproportionate sense of grandeur clumsily circle and bait each other throughout the film during their power struggle. The shocking scenes of death and self-harm are very gritty and the effects work extremely well.


As a metal fan the film made more headway out of the contemptible actions of the characters than it did about how the band were fundamental in creating a now well-established sub-genre (though, thankfully not all bands take themselves quite as seriously as this line-up of Mayhem did) and the tone was a little hard to read in places, but I feel that this was never the intent of the film and the horror and thriller aspects really delivered for me. I was entertained.

[Image: Insurgent Media, et al]

Hani

The Conjuring

"The Conjuring" (2013, James Wan, The Safran Company, Evergreen Media Group, New Line Cinema, Warner Bros.) is a haunted house/possession/witchcraft film from the director who brought us "Saw", "Dead Silence" and "Insidious".

Based on a true story, we meet the Perron family.

Roger (Ron Livingston) and Carolyn (Lili Taylor - the werewolf's mother from Netflix's "Hemlock Grove") have just moved into an old house in Rhode Island with their five daughters. Upon moving in they begin to experience strange happenings - from random injuries, to scary closet monsters, to creepy imaginary friends.

Eventually it all becomes too much to ignore as the apparitions become more menacing and the family seek the help of the famous paranormal experts, Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga).

A very traditional haunted house tale that can be compared to the likes of "Poltergeist" and the "Amityville Horror" and with a bit of "The Birds" and some "Exorcist" thrown in there too.

Excellently acted and very engaging, this crowd pleaser had the audience in Glasgow squealing, whooping, jumping and then laughing self-consciously at their antics. It was a really good experience!

The film is quite a rollercoaster of jump scares and fun cinematography. Whilst it relies heavily on predictable horror tropes and slightly overused scenes (creepy old lady in a rocking chair, for example), it likes to feint jumps and get you back when you least expect it and you really feel for the characters' plight.

However, as usual with Wan films it seems, the hectic ending of constant pulse-pounding moments begins to feel more like a series of scenes with lessening terror intensity and more hilarity. There's just too much going on!

The Annabelle doll sub-plot (also really a job the real life Warrens have worked on) is fantastic and could easily spin-off as a whole film to itself! I do love the prop which is one of the creepiest yet and knocks Billy the Saw dummy off his little pedestal.

All in an excellent experience and a film I enjoyed! Hardcore horror fans might like to bump their gums about how 'predictable' this or that is, but the truth in the matter is I jumped in that cinema, so Mr. Wan, I take my proverbial hat off to you. Much better than "Insidious"!

[Image: Warner Bros.]

 

Hani