Lords of Chaos (2018)

Cohen, so good in 2015’s “Brooklyn,” is chilling as the shark-eyed Varg (who has been linked to hate crimes in France in recent years), and Culkin brings just the right amount of eye-twitch to Aarseth, who seemingly enjoyed making grandiose proclamations of “evil” and donning corpse makeup rather than actual criminal activity — yet did little to stop out-of-control followers.

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.

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.

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.

Lords of Chaos the film ultimately could care less about the music when the psychology of this scene’s progenitors is what intrigues. So those expecting to learn about the genre will be sorely disappointed. This is about aesthetic, notoriety, and paranoia.