Rory Culkin as Euronymous, looking straight at the camera while wearing Kiss-type stage makeup in Lords of Chaos.
One of the most infamous and haunting subcultures in music remains the Norwegian black metal scene, which aimed to put into practice the dark themes and subject matter of the music. Nowhere was this more evident than in the disturbing history of the band Mayhem, active originally from 1984 to 1993, right in the midst of the “satanic panic”, and documented in the 2018 film Lords of Chaos, which had its own share of controversy upon its release.
Related Here's What ‘A Complete Unknown’ and ‘Better Man’ Do Better Than Almost All Other Music Biopics The biopics they are a-changin'... ‘Lords of Chaos’ Is Undeniably Shocking at the Cost of Tonal Consistency What’s immediately shocking when watching Lords of Chaos is that the central characters are a bunch of dorks. They begin jamming out in their parents’ basement, attempting to make the “most evil” music possible. There’s a scene in the beginning where Euronymous employs the help of his little sister to help him dye his hair black. He asks her if he looks “evil”, to which she replies “it looks good”.
In ‘Lords of Chaos’, the Performances Shine Despite the conflicted tone of the film, Culkin and Cohen do excellent jobs at portraying totally disenfranchised teenagers who get closer and closer to crossing the threshold of no return—in fact, they probably cross it a few times. The “how far is too far” of it all ends up making Lords of Chaos feel like an exercise in misery, and it’s unclear how much of this intentional.
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