A Slithery, Singing John Malkovich Is All Opus Has Going for It

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Modern folklore seems to portray affluent eccentrics and their mysterious groups as a new twist on the traditional haunted house narrative. Today’s genre films often revolve around ordinary individuals receiving exclusive invitations from charming elites to secluded estates for indulgence, decadence, and macabre events of one form or another. Previously, they might have inherited an old mansion and faced torment from spirits or demons. Now, they enjoy privileged fantasies while gradually realizing that all is not as it seems in their surroundings, even as they find it hard to let go of the luxury. It’s a contemporary reflection of human life in the 21st century – instead of haunted houses, we live surrounded by wealthy, enigmatic dangers.

In the latest offbeat horror production by A24 titled “Opus,” the eccentric millionaire character is none other than Alfred Moretti, a secluded pop music legend on the verge of releasing a long-awaited new album after 27 years. This role is masterfully played by John Malkovich, who not only brings the character to life but also lends his vocals to several songs featured in the film. This fact alone makes “Opus” an enticing watch or at least a compelling curiosity. Ever since making his debut in films during the 1980s, Malkovich has carried over his theatricality, using it to imbue many of his characters with flair and a hint of arrogance. It’s surprising that it took so long for someone to ask him to portray a pop star, but he certainly delivers an exceptional performance in “Opus.” He embodies the character as seductive, slippery, pitiful, and patronizing all at once.

Ayo Edebiri portrays Ariel Ecton, an ambitious young journalist working for a fashion magazine, yearning to break a major story. An intriguing invitation arrives for a private listening event of Moretti’s new album at his secluded residence. Known for his exclusive gatherings, Ariel unexpectedly secures an invite along with some prominent individuals, such as a TV reporter (Juliette Lewis), an internet personality (Stephanie Suganami), and her own editor (Murray Bartlett). Upon arrival at the property, they stumble upon peculiar rituals and vast fields of people creating art, exercising, and engaging in activities like Tai Chi and archery. These individuals are attended to and monitored by mysterious caretakers who remain stationed outside their rooms during the night. One even follows Ariel on her morning jogs, adding to an overall sense of unease.

It’s clear that the storyline isn’t heading towards a positive conclusion, yet it seems to drag on rather than rush things. This might not be a bad thing, though: The movie shines brightest when it allows Malkovich to showcase his eccentricities, performing quirky routines for his devotees and crooning songs for the press he has summoned. As Moretti struts around in a caftan and a golden disco robot suit, miming to music while running in circles and occasionally stopping to dance suggestively in listeners’ laps, we are captivated by Malkovich’s witty physicality and his amusing, expressionless face that somehow fits perfectly. Moreover, the tunes, which are old-school techno with shouted one-word lyrics primarily serving as a backdrop for beats and ethereal melodies, were crafted by Nile Rodgers and The-Dream. Although you may laugh at these songs, you might also find yourself unable to resist dancing to them. They share the same tone as Malkovich’s performance: self-aware, absurd, yet engaging.

Essentially, while Moretti’s inventiveness and occasional unexpected moments are commendable, the film “Opus” falls short in several areas. It struggles to develop compelling characters, generate suspense, or provide exciting thrills. The genre tropes in “Opus” appear hurriedly and superficially, lacking tension and foreboding. The build-up is also weak, with an accumulation of peculiar events without a clear sense of escalation.

The supporting cast, including the renowned figures surrounding Ariel, mostly fail to engage or allay her fears; they serve more as background fodder for horror movies, which can be disconcerting due to their lack of distinctiveness. However, Ariel, portrayed by Edebiri, is a familiar yet relatable genre character and the actress fits this role well. Yet, at times, it seems as if she belongs in another movie entirely.

In some instances, Director Mark Anthony Green showcases striking visuals and excels at creating montages. However, it appears he may be more focused on accentuating Moretti’s quirks rather than the narrative itself. Frankly, one can hardly fault him for this, given the captivating performances by Malkovich. I personally could have enjoyed even more of the actor’s eccentricities. If _Opus_ had been essentially a three-hour music video, it might have been more engaging.

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2025-01-29 01:54