Ian Shade’s review published on Letterboxd:
Zombie's cycles of influence create a world where trends, fashion and technology collide into a fifty-year amalgam; "the modern world" is not divided by generational decades because it represents such a small fraction of humanity, and its history of murder and ritual. How far back do you have to go before you find something unfamiliar, and will you recognize what the unfamiliar has passed down to you? The interpretation of Satanism is itself the reinterpretation of Christian images, and he makes correlations between modern and ancient worship: The neon crosses, the swirling portraits of Christ, the novelty Pietàs; the southern crosses, the demonic cardinals, the unholy births. The ideas aren't contradictory on their own so much as they highlight the tradition and contrarianism across past and future. The students of history, making their connections, following a different iteration of their predecessors' rules. I don't know if you can call it fatalism--even with the explicit distinction between "destiny" and "fate"--but between resilient superstitions and the lapses from sobriety, Zombie knows how terrifying the idea of fatalism can be.