Euronymous, an Oslo teenager hellbent on launching true Norwegian Black Metal, shapes his band Mayhem with edgy publicity stunts that invokes the calling of Satan and being an anarchist against the moral norm to make his brand renowned around the underground music world in the late 1980s. As his fame flourishes with creating ungodly music, owning and running a music store, and helming his own record label, Euronymous continues his crusade agasint the establishment, but the lines blur when his messages of hellfire become unforeseen reality. Suicide, arson, violence, and coldblooded murder push Euronymous to the limits of his own soapbox inactions, leaving him open for the possibility of being overthrown by his own acolyte metalheads.
To prepare myself for Jonas Åkerlund’s biographical thriller, “Lords of Chaos,” I immersed myself into Jason Lei Howden’s 2015 black metal horror film “Deathgasm” as precursor preparation into the intense and unforgiving metal macabre genre. Whereas “Deathgasm” is a balls to the weed whacker splatter film of the pissed off demonia kind, “Lords of Chaos” is a polar horror feature with factual roots. Åkerlund’s, who directed Mads Mikkelson in Netflix’s “Polar” and has an extensive history in directing music videos for various artists, draws inspiration for the 2018 film from his own experience in a Swedish Black Metal band, Bathroy, from the late 80’s. The Grammy award winning music video director creates beauty out of the horrific true life event, unidealized nearly entirely without much speculation that faithfully puts to picture a misanthropic tragedy in a bone-chilling manner.
From “Signs” to “Scream 4,” Rory Culkin has remained on the actors-to-watch radar and is most certainly, our favorite Culkin to watch on the screen. In “Lords of Chaos,” Rory plays and narrates the story as Øystein “Euronymous” Aarseth, the guitarist and creator of Norwegian Black Metal band, Mayhem. As if written stars, Euronymous surrendered to Rory Culkin’s performance and Rory Culkin became Euronymous. The eerie synonymous blurred identities that catapults Culkin to be admired amongst his peers and his worked beloved. Opposite Culkin is Emory Cohen as Kristian ‘Varg’ Vikernes, former Mayhem bandmate and convicted murdered of Euronymous. Cohen is bitterly intense with a historical figure whose committed arson and homicide and the New York City born actor uncomplicated approach to a complicated character had a natural phenomena about that would spook your soul from your body. Culkin and Cohen fed off each other’s energy to an explosive dynamic too good to be stagecraft. Another highlight from “Lords of Chaos,” though rather story line brief, is Val Kilmer’s son, Jack Kilmer, as Per Yngve Ohlin aka Dead. Kilmer tackles a depressed introvert and, in one opinion, nails the mental deficiency metalhead who was ordained to take his own life with great savagary showmanship. The film also costars Sky Ferreira (“Green Inferno”), Valter Skarsgård, Anthony De La Torre (“Johnny Gruesome”), Jonathan Barnwell, Sam Coleman (“Leatherface”), and Lucian Charles Collier.
If not paying attention, “Lords of Chaos” will slip under the radar since most audiences are conditioned to subsidize shiny cinema productions that make you feel all warm and cozy inside and spark wander and induce marvel and amazement. Åkerlund’s film will not send those sorts of puppy dog tingles down your spine. Many biopic films about ill-fated tragedy don’t do well with the general population; “Auto Focus” comes to mind with Greg Kinnear and Willem Dafoe. Critics eat up the inherent black dramas like Cookie Crunch and “Lords of Chaos” exudes madness and misery through deep seeded vigor for fame and principle. Åkerlund deserves nothing but our admirable applause for delivering an unadulterated visualization of literal mayhem from soup to nuts.
Umbrella Entertainment releases onto DVD home video “Lords of Chaos,” a co-production from Gunpowder & Sky, 20th Century Fox, Vice Films, and Insurgent Media. Presented in a widescreen, 1.85:1 aspect ratio, Umbrella Entertainment’s picture quality is exemplary in it’s natural, yet supernatural-like surrealistic manner in a clean digital presentation. Pär M. Ekberg’s depiction is hard-edge elegant and haunting with recreations of and the intertwinement of actual photos of Euronymous, Varg, and Dead. If you’ve seen “Polar,” you know Åkerlund and Ekberg brush stroke a fine line between reality and graphic novel much the same as “Lords of Chaos'” allegory. The English language Dolby Digital 5.1 surround sound mix has high level attributes with clean and perceptible dialogue, a vast range of ambient noise, and a killer black metal soundtrack worth banging your head to. No bonus features accompany this title. “Lords of Chaos” is a heavy story that needed to be told and feels very much like a part of Åkerlund, an extension of himself through his past brought forward to illuminate the blackness in us all derived from the power of metal with a psycho-psychology that’s industrial-built.
Category Archives: Just fucking awesome
Two Undisciplined Girls Do EVIL in the Netherlands! “My Nights With Susan, Sandra, Olga, & Julie” review!
After years with struggling with fame, Susan finds solace in an idyllic and solitude Netherlands’ farmhouse near the waterfront. Her peaceful lodging transforms in a youth hostel as she welcomes three refuge women – Sandra, Olga, and Julie – and one man – Albert – into her life and in exchange for a place to stay, Susan embraces the company after her entanglement with loneliness. Despite Sandra and Olga’s sex-crazed psychopathy and an unhinged Albert’s voyeuristic habits, Susan has been able to maintain an even keel quality of life. That’s until the handsome Anton shows up. His arrival stirs the nest of sexual desires and has Susan questioning her reclusive lifestyle. Anton’s presence also riles up Piet, a crazed women living in a shed on the outskirts of the farmhouse. To make matters more complex, Anton becomes mixed into a murder mystery involving a dead American. Was it the mischievous sexual delinquents Sandra and Olga? Or did the wild Piet finally snap her moral conscious?
During the height of the 70’s sexual revolution, the Dutch seize the opportunity to piggyback their own free love films. Pim de la Parra’s 1978 “My Nights with Susan, Sandra, Olga, & Julie is an epitome example of the Dutch sex wave genre that shares the tantalizing groping, succulent squeezing, fornicating spooning, and …well, you get the idea. Originally titled as the longwinded My Nights with Susan, Olga, Albert, Julie, Piet, & Sandra (whew), this film is the last production of Pim de la Parra’s Scorpio Films from a script co-authored between Parra, Harry Kumel from Belgium, David Kaufman from America, Charles Gormley from Scotland, and Carel Donck from the Netherlands in a melting pot of cultural creativity. “My Nights with Susan, Sandra, Olga, & Julie” sizzles the screen with nudity in characters just walking around or riding on a child’s rocking horse stark naked that’s ostensibly organic for a story beginning with cold blooded, arbitrary murder.
Before partying the circumstantial matron of a youth hostel, Netherlands’ Willeke van Ammelrooy was Eva in “Frank & Eva,” another film by Pim de la Parra. She was also Alicia in “Blue Movie” director Wim Verstappen’s “Alicia” and also played Mira in Fons Rademakers’ “Mira.” As the evidence provides, Ammelrooy is very experienced as the leading lady role, portraying three titular characters from 1971-1974 by post-humorously acclaimed Netherland directors. Yet again, Ammelrooy plays a titular character in Susan, a country cloistered luminary seeking to be a forgotten face, but Ammelrooy steely performance of a woman pretending not to be hiding secrets is a fascinating insight into a character’s personal shielding; however, when Anton, “Wet Dreams’” Hans van der Gragt, their hot and cold dynamic creates a formidable hard love rigidity influenced by forces internal to Susan and external forces from those her immediate life at the farmhouse. Olga and Sandra have more intoxicating behaviors that run the story amok and what’s more interesting about the actresses, Franulka Heyermans and Marja de Heer, is that they’re amateur actresses according to Pim de la Parra. Cold and, yet, lively, Heyermans and Heer have mountainous ration and serve Parra genuinely. Marieke van Leeuwen, Serge-Henri Valcke, Jerry Brouer, and Nelly Frijda round out the small cast.
Pim de la Parra’s influences stem heavily from Alfred Hitchcock. The filmmaker implements voyeurism and the wrongfully accused that are essential to the Hitchcockian style. I also find it hard to believe that on the first day of shooting on Hitchcock’s birthday, August 13, that Pim de la Parra’s first scenes are that of birds on a beach. Coincidence or a little salute to the master of suspense, either way, the now retired filmmaker unifies a harrowing score with birds and a beach to not only by respects to Hitchcock, but also sets the tone of the film of an erotic thriller with blotches of dark comedy strewn in.
Cult Epics proudly releases “My Nights with Susan, Sandra, Olga, & Julie” onto a new high definition two-disc Blu-ray/DVD combo set. Presented in a widescreen, 2.35:1 aspect ratio, in a 1080p transfer from the original 35mm print, preserved by the Eye Film Institute in Amsterdam. The original print is nearly pristine with a palatable amount of stock grain and with only a minor amount of film wear. No observations of border enhancing or sharpening that would dilute the bona fide quality. The Dutch DTS-HD 2.0 Master Audio track nicely accompaniments the film with depth and range and the Dutch dialogue upfront and present and the very Hitchcock-esque soundtrack by Elisabeth Lutyens (“The Skull”) provided a perfect suspense drive score in her last composer post. Supplements includes an introduction by Pim de la Parra, poster and photo video gallery, Scorpio Films’ shorts that includes “Heart Beat Fresco,” “Joop,” and “Joop Strikes Again,” and Scorpio Films’ theatrical trailers. Cult Epic’s region 1 DVD and the all region Blu-ray release favors another Dutch sex wave cinema flavor with just modernization of an intertwinement of erotically charged lust and lives with repulsive and deadly temperaments and with Pim de la Parra at the helm, you’re going to get primo framing and angles sure to captivate.
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Insecurity is a Path to the EVILside! “Killing Spree” review!
Airplane mechanic Tom Russo is a newly married man; it’s his second marriage, in fact. Tom’s first go around in marital union didn’t go over so well as found himself on the other end of being a victim of adultery. Paranoid and skeptical, Tom requires his young and hot new wife, Leeza, to become a house wife as he works long, exhausting hours to support his family in a one income household. As the work hours pile, money becomes tight, and tensions build in the back of Tom’s mind, paranoia steamrolls Tom’s reality when he starts suspecting a lonely Leeza of screwing every delivery, repair, and lawn car man that knocks at their door. Without confronting Leeza with his delusions, Tom’s extreme jealously pushes him to kill and bury the men that he envisions involved in the affairs, but his victims don’t stay dead, they don’t stay buried, and seek the eternal suffering for their killer.
A few, long years have gone by since our last encounter with the practical effects-heavy, indie horror director Tim Ritter. From his disturbing tale of destructive descent in “Truth and Dare?: A Critical Madness to his “Switchblade Insane” segment from the SOV masters of horror in the ghastly-variant anthology “Hi-8 (Horror Independent 8)” that also helms short films from Donald Farmer (“Cannibal Hookers”), Todd Sheets (“Dreaming Purple Neon”), and Brad Sykes (“Camp Blood”), the filmmaker has a legacy of blood-shedding entertainment. Today, exploration into Ritter’s “Killing Spree” unearths his passion for horror that develops out of influences from other horror icons before leaving his bloody footprint in the indie scene. “Killing Spree,” written and directed by Ritter, displays the filmmaker’s deep affection for Fangoria magazine having it displayed, repeatedly used as coffee table literature prop. There’s also admiration for “Night of the Living Dead” in the bonkers film about one man’s mind snapping like a twig under the formidable stress. The main character’s name is Tom Russo and Russo is the last name of NOTLD co-writer John Russo and let’s not also forget about the undead rising from Tom’s backyard is fairly synonymous with zombie classic.
While Tim Ritter flicks may not be graced with star-studded actors and actress, even from the B-movie lot, and more than likely don’t spawn hidden talent, there’s still something to be wholeheartedly said about the cast of his films that can only be described as an eclectic bunch of marvelous misfits that bring underground brilliance to the screen. Asbestos Felt is one of those said characters. No, I don’t mean the toxic asbestos felt roofers use as a underlaying backing when nailing in shingles. “Killing Spree” is one of three films Felt and Tim Ritter have worked on together and the scrawny-build with a strung out Grizzly Adam’s head on his shoulders has a wide-eyed spectacle about him when playing Tom Russo spiraling down the crazy train drain. Tom’s obsession with keeping Leeza from the perverted grips on those naughty repairmen would drive any wife away, but not Leeza, played by Courtney Lercara. The “Slaughterhouse” actress is an aesthetic flower growing in the middle of all the mayhem and she protrudes an innocence well received by her character. Other cast members include Bruce Paquette with the white boy dance moves, indie horror vet John D. Wynkoop (“Brainjacked”), Kieran Turner, Alan Brown, Rachel Rutz, Cloe Pavel, and Raymond Carbone as a dirty old pilot with a wise guy brogue.
Remember when I said these types of horror films don’t typically expose acting artistry? Well, behind the camera, one or two crew members start their illustrious careers in the indie trenches. Such can be said for special effects master Joel Harlow who makes his introductory launch with “Killing Spree” and then find work on a couple sequels for “Toxic Avenger,” “Basket Case 2,” and all the way up to the Neil Marshall “Hellboy” and “Godzilla: King of the Monsters.” Yeah, I think Harlow made out OK. Harlow’s effects on “Killing Spree” will “blow your mind,” as stated on the back of the Blu-ray cover. Well, when Leeza’s head turns into giant lips then goes oral on Raymond Carbone’s head until his crown ejaculates, then, yes, these effects will blow your mind…literally! The medley macabre showcase Harlow’s craft from A to Z that includes a torched corpse, a disembowelment, severed undead head, and a nosy neighbor without a nose or without half a face for that matter.
Sub Rosa Studios re-releases “Killing Spree” onto the dual format, DVD/Blu-ray combo set with MVDVisuals providing distribution of the limited 666 copies. Essentially, this is the same release that was made available a couple years back presented in a standard television format of 1.33:1. The Betacamp SP 16mm video has held back the test of time since 1987, but with any video film on a budget, the rather cheap recording method does come with inadequacies, even if being remastered. For the entire runtime and not just in the tinted moments of carnage, the skin tones are akin to Donald Trump’s uncanny neon orange flesh and perhaps could have gone under an extensive color correction. Aside a few very minor tracking issues and faded coloring, the video transfer passes substantially well despite the continuous flare of orange. The English stereo 2.0 mix isn’t hearty or robust. Whenever Tom goes into maniacal mode, his crazy quips are quite soft even when he elevates his voice, and that goes the same with depth and range which are non-existent over the course of a flat audio tracks. Though soft at times, dialogue strongly comes through in the forefront with some fuzzy nuances. Bonus features are killer on this release with the Blu-ray sporting the majority with a never before seen extended director’s cut, a new commentary track from director Tim Ritter, a 90 minute documentary entitled “Blinded by the Blood,” a radio show commentary by H.G. Lewis and Tim Ritter, music tracks, photo slide show, three alternative scenes, blooper reel, and a Joel D. Wynkoop segment. The DVD also includes the director’s cut version of the film, the new commentary by Tim Ritter, and commentary for the original cut by Tim Ritter. “Killing Spree” is as grisly as the SRS cinema Blu-ray/DVD cover implies and then some with all the characteristics of a deranged and unhinged man exerting himself beyond the limits of sanity and mortality to unambiguously protect what is his; a dramatize example rendered as a metaphor for those who will do anything to protect what’s theirs.
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EVIL Gets Schooled! “Slaughterhouse Rulez!” Review!
Slaughterhouse boarding school is an aristocratic playground housing some of the children of Britain’s most elite families. Alongside institutional studies, a long list of leisure activities are available, such as junior military, golf, and chess just to name a few. For new pupil Don Wallace, attending Slaughterhouse was just to please his mom’s persistence that soon sparked mixed feelings about his new surroundings between finding his place in the student vicious hierarchy and being in the company of the girl of his dreams: Clemsie Lawrence. The school also has a new headmaster, one who has made lucrative dealings with a fracking company for the extraction of natural gas at the outer rim of school grounds, but the seismic tremors caused by fracking result in large sinkhole, unleashing a horde of underground dwelling beasts that run rampant on campus grounds hungry for a meaty school lunch. It’s up to Don Wallace and his misfit school chums, plus one miserable school educator, to fight back in order to escape with their lives.
Boarding schools, especially the British ones, inherently have an intimidating nature about them and if the comfort decimating idea of being housed away from your parents isn’t frightening enough, the upper-crust cliques and sovereign clubs are an assumed terrorizing, foreboding thought – just look at all the paranormal and murderous boarding school incidents that happened to Jennifer Connolly’s character in “Phenomena” (aka “Creepers”). In Crispian Mills’ sophomore written and directed feature, also co-written with Henry Fitzherbert, “Slaughterhouse Rulez” is another boarding school that can be chalked up as being a killer institution adding big ugly beasts shredding through the student body as the antagonistic creature in this feature. The 2018 comedy-action-horror is produced in the UK as the first film from the Simon Pegg and Nick Frost production company, Stolen Picture. Pegg and Frost have a long and hilarious history together, breaking out internationally with the modern classic “Shaun of the Dead” and continuously worked together on various projects throughout the last 19 years since their George A Romero inspired success. The usually buddy comedy duo have reunited once again for Mills “Slaughterhouse Rulez” as supporting, yet memorable, characters that do steal the show.
“Slaughterhouse Rulez” mainly focuses around Don Wallace, the new teen on the scene who tries to live up to this standards his deceased father’s worked hard for, and Wallace, played by “Peaky Blinders” regular Finn Cole, goes through the motions of being the new kid in school that quickly discovers who his enemies are, as an outsider forced to be friend with the school black sheep, and falls heads over heels for the most popular girl on campus. Cole’s especially charming for most of the performance, but can flip his character to being weak in the knees and want to be reclusive when pushed too hard. Opposite love interest, Clemsie Lawrence (Hermione Corfield of “Pride and Prejudice and Zombies”), provides little insight into her perceptions of Wallace as the character does a 180 degree regarding her feelings for him, but Clemsie sure does have reason to withhold how she really feels by being a Goddess and being under surveillance by Clegg, a legacy God who takes his title literally as a divinity itself and has a sadistic iron fist for those who buy their way into Slaughterhouse. Clegg is a stone-faced psychopath performed very blunt by Tom Rhys Harries Wallace’s friend by roommate association, Willoughby Blake, is a social outcast who loves to live in isolation. Asa Butterfield, from “The Wolfman” remake and “Ender’s Game,” sizes up Willoughby crutched by depression and drugs as the most complex character with a dreadful secret. “Slaughterhouse Rulez” continues with an amazing lineup of talent that include Michael Sheen (“Underworld” franchise), Margot Robbie (“Suicide Squad”), Isabella Laughland (“Harry Potter” franchise), Kit Connor, Jamie Blackley (“Vampyr”), and, of course, Simon Pegg and Nick Frost.
Mills’ anti-fracking and subterranean monster flick isn’t all action and blood. For the first 2/3 of “Slaughterhouse Rules,” the filmmaker initially barely hints at a creature feature and harnesses to express his inner John Hughes with his attempt at a coming-to-age horror-comedy bursting with adolescent complexities, such as drug use, depression, suicide, bullying, love, adult and peer pressure, social differences, and so forth, that becomes heavily cloaked in humor and horror in the same vein as “Shaun of the Dead.” All the buildup of the teen dynamic comes to a screeching halt; literally, a bloodthirsty monster screeching when unearthed from the fracking folly killed, in a whole bunch of various degrees of the term, all the pre-apocalyptic adolescent shrapnel and turned it on its head as a means of overcoming the difficulties of the Slaughterhouse boarding school, relinquishing the difficulties into a honky-dory finale.
PER CAEDES AD ASTRA! “Through adversity to the stars” does the Stolen Picture produced “Slaughterhouse Rulez” find itself on DVD courtesy of Sony Pictures Home Entertainment. Presented in an anamorphic widescreen, 2.39:1 aspect ratio, the digital picture maintains a rather seamless presentation though I though there could have been a little more pop in the coloring. Director of photography, John De Borman, did a phenomenal job with the lighting through the woods, the school grounds, and the labyrinth maze under the school; a reminiscing aspect from his earlier work in Stephen Norrington’s “Death Machine.” The English 5.1 Dolby Digital audio track caters to every whim. Range and depth were good, especially with the beasts’ roars/howls. Dialogue is prominent, yet I still have a hard time with the English accent. Also available is an English Audio Description Track, French (PAR), Spanish 5.1 Dolby Digital, and English, English SDH, French and Spanish subtitles for a film that runs 104 minutes. Unfortunately, there is no bonus material. “Slaughterhouse Rulez” has the Pegg/Frost humor that we’re all now familiar with and still retains the funny, even if some of it is British-ly dry! With that said, Crispian Mills’ film observes adolescent behavior while also being blood splattering entertainment through the razor sharps jaws of the hounds from fracking hell!
Now available on DVD!
Bikini-Cladded Revenge on a Small Time EVIL Crime Syndicate! “Rondo” review!
Disturbed and dishonorably discharged Paul finds solace at the bottom of a glass bottle. As Paul falls deeper into dire depression with drugs, the drink, and cigarettes, Jill, his sister, lays down some ground rules while he crashes on her couch. At her advice and insistence, Jill schedules a psychological appointment for him and the doctor recommends sex as a release and not just any old sex, but the behind-the-doors, underground, Freak-a-leak kind of kinky encounters. Paul joins two other men in a high rise condominium, receiving instructions on how to treat and mistreat an affluent man’s wife, but Paul becomes the witness to an organized murder party and flees for his life, barely escaping the clutches of his captors, and returning home to his sister Jill to tell her everything. The only problem is, the killers know his address and now their business becomes a family affair loaded with straight razor slashing, crowbar bashing, and automatic weapon firing mayhem.
“Rondo” is an icy revenge thriller with bullets and blood galore from writer-director Drew Barnhardt. The “Murder Loves Killers Too” director reinvigorates a pulp noir approach into the independent film market that invokes woman power through all sorts of masculinity muck. Breanna Otts and Gena Shaw flourish as the anti-leading lady by wielding large assault rifles and being the kingpin of killers amongst a bunch of kneeling and broken men. “Rondo” is also about family, believe it or not. Whether bound in endless love or broken beyond repair,the theme of taking care of your own blood comes to the forefront, but before you go showing your kids, “Rondo” takes family to hell and back and then back to hell again for a rough ride of riveting vileness and hard-on revenge.
“Rondo” doesn’t necessarily have a lead character. In act one, the voice over utters over the pitiful existence that is Paul (“Galaxy of Horror’s Luke Sorge) who, at the persistence of his sister, tries to step outside the path of destruction by stepping into a sex den at the advice of a radical, and very pregnant, psychologist. The voice over is curiously used since pertaining to the fact that the narration, provided by Steve Van Beckum, becomes nearly Paul’s inner monologue by the end of his tenure. Act two transitions into a father and daughter reunion and then revenge plotters. No voice overs accompany the two, but Jill (“Westworld” and “SWAT” actress Breanna Otts) and her father Sam (“Rage of the Mummy’s Michael Vasicek) have an exposition fest involving what ifs and to dos. Sam felt to be a wasted character; an escaped VA patient returning to his children for revenge that doesn’t quite grow from there. On the other hand, Jill extends into act three as the sole protagonist and her thirst for vengeance is clunky and clanky, stirring up a halfcocked plan in the belly of the beast that happens to work in her favor and in our favor too as Otts ends up in lacy underwear in an episode of boobs and bullets. “Rondo” rounds out with Ketrick ‘Jazz’ Copeland, Reggie De Morton, Gena Shaw, Kevin Sean Ryan, Grant Benjamin Leibowitz and introducing Iva Nora in her first role and first nude scene.
Conceptually, Barnhardt’s tale of ravage savagery rouses out from the cobwebbed conventional anecdotal pathways and while “Rondo” might be a tale that’s rarely been told, apprising the plot into maturity bid Barnhardt with a far more difficulty, leaving to squash the answers to far more questions at the roll of the end credits. One of the more puzzling questions is why does the voice over only narrate for Paul? Kicking off with a voice over that explains Paul’s downtrodden life, then transitioning quietly into Paul’s inner thoughts, and then disconnected completely that literally leaves a punctuation question mark hover just over our scalps. There’s also the question of how deep this criminal organization roots in society? How did Cassie, wife of the barbaric boss Lurdell, get to assimilate herself into positions of power to influence poor souls to become meat for the grinder.
Artsploitation Films distributes an American bloodbath with “Rondo” onto DVD home video. The not rated release is presented in a widescreen, 1.77:1 aspect ratio, and despite some banding, the picture quality spruces a fine package with natural lighting and little-to-no filter use. The Dolby Digital 5.1 Surround Sound pitches perfectly without some much of a hiccup. Range and depth are fine, though the film isn’t necessarily a heavy hitter with action, and the channels are level amongst the LFE gun blasts in the cap your ass finale. Bonus features include a director’s commentary, deleted scenes, selected music commentaries with composer Ryan Franks, and an exhibition of the gritty pulp cover art and lobby cards set to a musical score. “Rondo” is a cult indie classic through the venomous teeth of white-collar Americanisms and a torrent of human immoral inclination that relentlessly shows no mercy scene after scene.
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It's Bloggin Evil! 