‘Opus’ Review: Even Ayo Edebiri and John Malkovich Can’t Save A24’s Exceedingly Silly Horror Send-Up of Fandom

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A secluded setting. A band of unassuming, eccentric aspirants. A malicious scheme to systematically eradicate them. This setup is almost guaranteed to create a gripping horror-thriller experience, but writer-director Mark Anthony Green’s inexperienced work “Opus” disappointingly misses the mark with insignificant tension and mere surface-level comments on fame and fan expectations.

Previously working for GQ, Green recognizes the difficulties of staying relevant in today’s print media landscape. Emerging writers find it challenging to establish their careers with notable bylines, as influencers seem to snatch all the undeserved advantages. Ayo Edebiri portrays Ariel Ecton, a promising young journalist working for a Rolling Stone-like magazine, battling for engaging assignments that are often given to her superiors, even when she’s the one who suggests ideas. Her boss, Stan Sullivan (Murray Bartlett), doesn’t appear overly eager to advance Ariel’s career. Even a friend questions whether she has much to offer as a “middle”: a nice young adult who hasn’t faced many hardships in life.

However, an exciting development presents itself: after a 30-year absence, the legendary ’90s musician Alfred Moretti (John Malkovich) is stepping back into the limelight to unveil his 18th studio album. Known for his quirks, Moretti has extended a select few invitations – among them, Stan and, surprisingly, Ariel. Together, they journey to his secluded estate for a lavish weekend, helping him promote the new release.

Without a doubt, this event is a significant moment for Ariel and all attendees; throughout the movie, it’s emphasized that Moretti is considered one of the most exceptional entertainers of our era. To confirm his renown, there’s a newsreel showcasing his fame and prestige. Even respected figures like Wolf Blitzer acknowledge its significance. With numerous awards under his belt, Moretti has graced the covers of every magazine and led some of the highest-grossing tours in music history. In essence, this gives you an idea of his immense popularity.

If “Opus” aims to legitimately portray Moretti as an icon on par with musical greats such as David Bowie and Prince, it must include standout tracks. Regrettably, it does not, even though it boasts original compositions by renowned producer Nile Rodgers and The-Dream. The opening number, “Dina Simone” (performed by Malkovich like the rest of the songs), while somewhat catchy, falls short of being a truly remarkable tune, despite Green’s attempts to persuade listeners that it is one of the most iconic songs ever created, using a series of scenes from around the world showing fans singing and dancing to it. In Shirley Kurata’s flamboyant costumes — ornate velvet outfits, colorful eccentric ensembles, and a shimmering silver spacesuit — Moretto’s style seems to blend elements of Bowie, Elton John, and Daft Punk. However, he lacks the songs to match this style.

As a cinephile, I find myself drawn into the desolate landscape that serves as a backdrop for this intriguing storyline, reminiscent of the eerie settings in “Midsommar.” The eclectic group of characters – Juliette Lewis’ chatterbox TV host Clara, Melissa Chambers’ seasoned paparazzi photographer Bianca, and the enigmatic musician Bill Lotto (Mark Sivertsen), a past adversary of Moretto – are all asked to surrender their devices before being shown to their rooms. Once out of the public eye, it becomes clear that Moretti has built a community of artisans who take great pride in their handmade creations, from hunting for pearls in oysters to immersing themselves in various performance arts. What’s more intriguing is their devotion to a figure they worship as their messiah – a living deity, if you will.

In a rapid fashion, a situation similar to the one portrayed in “The Menu” unfolds, with an exceptional ensemble, including Tatanka Means, Aspen Martinez, and Amber Midthunder, faithfully carrying out their tasks as Moretti’s loyal workers. (Midthunder stands out particularly in her limited yet impactful scenes as Ariel’s concierge.) It’s noticeable that only Ariel seems to suspect that something malevolent is happening within the tight-knit community. To put it another way, she queries, “Just like Muslims face Mecca, Catholics go to church. What do you do in your faith when things don’t seem right?

In a different way of saying it:
“It’s interesting to note that ‘Opus’ doesn’t delve deeply into Moretti’s reasons. When he speaks in strange, philosophical monologues, it often seems like confusing jargon you’d rather ignore. Consequently, we learn that Moretti was repelled by the sense of entitlement people around the world, from media to fans, had towards him. As events progress, Ariel finds herself trapped within the compound despite her desperate attempts to escape; the death toll rises and a terrifying game of cat and mouse ensues. The most gripping part of ‘Opus’ is a slasher-style sequence where Ariel struggles for her life and freedom. However, one can’t help but feel unsatisfied as Green hurries through both the mystery and its resolution, leading to an enigmatic epilogue with little reward.

The movie “Opus,” with its tone that seems to straddle satire and horror but leaves you feeling perplexed, showcases John Malkovich’s peculiar, misplaced acting. It presents several unrefined concepts about cultural symbols and harmful fan culture, making it appear as though it missed its chance in the genre. In fact, what makes this well-made film most unsettling is that it offers so little substance despite its polished production.

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2025-01-29 01:17