Opus, 2025.
Written and Directed by Mark Anthony Green.
Starring Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Stephanie Suganami, Young Mazino, Amber Midthunder, Tony Hale, Tatanka Means, Tamera Tomakili, Peter Diseth, Melissa Chambers, Mark Sivertsen, Aspen Martinez, and Jasper Keen.
SYNOPSIS:
A young writer is invited to the remote compound of a legendary pop star who mysteriously disappeared thirty years ago. Surrounded by the star’s cult of sycophants and intoxicated journalists, she finds herself in the middle of his twisted plan.
A horror film with Ayo Edebiri as the only sane, intelligent journalist guest to a cult leader/worldwide celebrated pop phenomenon played by John Malkovich should not be this dull and uneventful. A significant problem with that is how unconvincing writer/director Mark Anthony Green’s Opus plays out, unable to make the mind manipulation of obsessed journalistic fans invited for a grand album reveal (30 years from his previous “masterwork”) credible to buy into or convey the once-in-a-lifetime brilliant artist as just that. John Malkovich has the charisma and flamboyant costumes, but the songs themselves go in one ear and out the other, which is a huge issue considering that the filmmaker perceives the structure here as comparable to that of a pop album.
To play devil’s advocate, the forgettable music could theoretically be part of a greater point in that this guy’s music sucks and no one should be, by extension, getting suckered into his wacko cult founded upon worshiping masterful artists. However, if that were the case, why bring aboard musicians The Dream and Nile Rodgers to hopefully whip up some infectious songs that bring viewers into a similar sycophantic frenzy as the journalists on hand and numerous cultists ranging from adults to children (part of the mission statement involves indoctrinating them into this lifestyle young)?
Ayo Edebiri’s Ariel is scratching and clawing her way to a big article surrounded by male peers who repeatedly take the most interesting assignments for themselves. The difference here is that Ariel isn’t caught up in the music but is much more fascinated by Moretti’s (John Malkovich) Levelist cult, presumably much like everyone watching this movie will be. One of her friends also suggested that diving into an unorthodox experience would give her writing more perspective and thus make it more compelling. By this logic, the film seemingly agrees that the cult and stories behind Moretti’s longtime, most dedicated worshipers is where the intrigue is, yet still succumbs to trying and failing to entertain through the singer’s shallow music. It’s a series of confused contradictions.
Nevertheless, Ariel pleads with her colleague Stan (Murray Bartlett) that if he is going to write that album review, she gets to do a piece on the cult. He pushes back against this because, much like everyone else that was invited to this narcissistic gathering that includes odd rituals such as passing a singular piece of food down the entire dinner table for everyone to take a bite into and shaving all genitalia, not to mention unknowingly being watched by security cameras, and being stripped of all technology, they are practically hypnotized by Moretti. No strange act strikes an unnerving chord with them.
The one positive (aside from the central performances) is that Mark Anthony Green knows how to implement a jump scare. There are startling injuries here that catch one off guard out of nowhere. Of course, this could be elevated by the con that not much is happening here otherwise, but it’s also fair to say that he is skilled behind the camera when it comes to sudden bursts of tension.
Unfortunately, Opus predictably spins its wheels before the explosive finale, which circles familiar, standard talking points surrounding cultists, mass murderers, and the journalists who make a name from documenting that story. When it’s not shooting easy targets for celebrity worship through broad humor, it meanders as a film and pop album.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He is also the Flickering Myth Reviews Editor. Check here for new reviews and follow my BlueSky or Letterboxd
