Very very predictable, including the post credit scene !!!

It is a performances centric movie

The film never slows down or bores, plunging from one harrowing sequence to the next.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Egyptian gods summons the angel Lucifer - in order to usher in a new occult age.This film has been on my to-see list for almost twenty years. In the 1990s, I was big into the counter-culture scene and was reading quite a bit on Charles Manson. The name "Kenneth Anger" came up again and again, and his work was something I just had to see. But the opportunity never presented itself.Now (2015) I have seen it, and it did not disappoint. Some have called it an extended music video, which is not far off. Others say it is something "occult", but even there I think that is slightly off. I doubt very much the people involved were taking themselves seriously, blending images and symbols from the Druids, Egyptians and Crowley... what an experience.

If you are a friend of Kenneth Anger or are into ancient religions and the works of Aleister Crowley, then this film is for you. Or, if you've suffered a massive head injury or have done some LSD, then this film ALSO is for you. Otherwise, I just can't imagine anyone enjoying this very self-indulgent film.This film is inexplicable and according to Kenneth Anger's commentary track, it isn't up to the actors (and audience) to understand the meaning of the film--he understands it. The film consists of lots of ancient Egyptian gods walking about the desert, gods walking about ancient German ceremonial rocks, a lot of nudes and a final shot of a UFO flying over the ancient Egyptian ruins.As I watched this and listened to Anger's commentary, I was amazed that he was able to get a lot of people to get involved with this bizarre little art film/recruitment poster for the Aleister Crowley fan club. In fact, I watched all the films with the commentary track on and this is the only one in which I doubted the speaker's sanity. His talk about one person in the film being a living demon in human form (he was serious about this), the 911 conspiracy and his tales about UFOs was all rather disturbing...but also quite funny--making this very tedious and self-indulgent film a lot more enjoyable.

Far removed from the 'satanic panic' of 1969's Invocation of My Demon Brother, and closer to the imagery, motifs and ideas of his earlier short Inauguration of the Pleasure Dome, Lucifer Rising finds the infant terrible of the hippie counterculture once again dabbling in the occult, the mystical and the mythological, only this time, with a clear, focused and assured approach. Gone are the frantic superimpositions and chaotic editing. Lucifer Rising is for the most part cleanly edited, more refined in the selection of images and more carefully constructed than its predecessors. It sees Anger harnessing his delirious side in the service of a certain film-making finesse, without losing any of his symbolic potency. What other proof is there that this is Anger at his most professional when he even uses tracking shots in some instances! What next, professional actors? A Crowley-esquire view of ancient Egypt then, with Lucifer as the bringer of Light, touching themes of death and rebirth, Lucifer Rising may lack the visceral, hypnotic madness of its predecessor but makes up for it with an air of spellbinding psychedelia.

Entertaining, slow moving, insightful, and sometimes shocking fourth installment to the Kenneth Anger short film collection; it possesses all these attributes, as well as being influential to experimental directors of today. A lot of what Anger was doing in "Invocation of My Demon Brother" (film layers, fast edits, bizarre soundtracks) can be seen in most of the music videos on MTV; a characteristic that has driven parents, as well as teenagers, crazy. The primary source of these ideas came from the Acid Trip footage, extensively explicated in Tom Wolfe's lysergic-fused biographical novel, "The Electric Kool-Aid Acid Test." Nevertheless, the idea caught on and Anger utilized the technique to the fullest in "Demon Brother," counterweighted by an equivocal tape-loop supplied by Mick Jagger. In the second film "Lucifer Rising," Anger had already developed his experimentation with edits and layers, this time presenting a more formalized run to the film. Marianne Faithful makes an appearance in the film, as well as an assortment of 60's notables, which includes Manson family member Bobby Beausoleil who also wrote the film's score. Altho not Anger's best volume, (Scorpio Rising is the better) it still has many elements -- as I explained -- that will turn some people on; ergo, a cult following.