Opus, written and directed by Mark Anthony Green, serves as an exercise in mediocrity within the newly coined “cult horror” genre. A24 markets the film as a “horror” movie, specifically in the “psychological thriller” subgenre. Unfortunately, the film fails to deliver on either the horror or the thrill, leaving much to be desired in the psychological aspects as well. Opus plays out like a checklist of typical tropes, with each one ticked off as the film progresses. Ironically, unlike the characters in Opus, the film feels as if it was made without any real ambition to stand out or be something truly special.
The film follows Ariel Ecton (Ayo Edebiri), a determined music journalist in her pursuit to rise above “the middle”. In case you were wondering, an exposition scene in the first fifteen minutes of the film gives us all of that information in plain terms. Enter Alfred Moretti (John Malkovich), a reclusive pop star who is making a comeback. Have no fear, we are able to see that the film will be quickly solving Ariel’s problem in the next scene. For some unbeknownst reason, she secures an invite to an exclusive event held at Moretti’s secluded Utah compound for his new album. Predictably, the invite is less than innocent, as attendees go missing and befall tragedy one by one.
John Malkovich’s performance as the eccentric pop star, Moretti is a standout, playing some kind of Kanye, Bowie, Leto amalgamation. His portrayal of the enigmatic celebrity, who quite literally lives in his own world, is the most interesting commentary the film has to offer. He plays the character as charming, calculated, and influential, leveraging into an almost tangible power over his fans/cult members. Green pokes fun at idea that people are so captivated by the celebrity with genuinely silly musical performances. It was a clever choice by Green to use Ariel is the audience’s vessel to explore this “world.” Edebiri performs her part with an inherent earnestness. This keeps the film, at least, entertaining. Without Malkovich and Edebiri at the helm, the film would be an absolute bore.
A “cult horror” should probably put some work into creating the lore of the cult, itself. We know virtually nothing about the motivations of the cult in Opus, the “levelists.” We know that there is a whole text that they follow, and a strange tradition they feel “called to do.” It is obvious that nothing actually nefarious going on with the members. Instead, they serve as hollow characters who just exist to create a false sense of tension.
The idea of an isolated compound should, amplify the sense of mystery. Perhaps Green watched Midsommar too many times because the sunlight is glaring and takes away from any shred of tension. The visual effects and aesthetics of flashy costumes, fans with literal stars in their eyes, and neon drenched performances added to the overall style with a pretty cool flair. While the horror aspect is subtle, it eventually unleashes itself in the beginning of the third act. The most redeeming point of the film occurs during the climax. This is by a bizarre moment and boosted by a haunting practical effect.
That being said, Opus does struggle with pacing and coherence. As the film progresses is spirals into a disjointed and confusing mess. The major problem is that Opus is trying to tackle too many themes and doesn’t succeed in tying them together. While the exploration of celebrity obsession holds potential, the film leaves it at just that, potential. While Edebiri’s performance is solid, the film doesn’t delve deeply enough into her motivations, leaving us with a rather one-dimensional character. There’s potential for a more meaningful emotional arc that would have tied the narrative together. Because of this, the film feels more like a parody rather than a nuanced commentary on media culture.
Final Thoughts
Ultimately, Opus feels like a missed opportunity. Green’s attempt to dissect celebrity culture lacks the depth and coherence needed to make it truly impactful. Malkovich and Edebiri’s performances work to inject some life into an otherwise predictable story. However, the film’s treats its themes superficially and I found myself desiring much more from any moments of fleeting tension. The overuse of tropes and underdeveloped narrative make Opus feel like an experiment that never fully finds its footing. This results in a film that is neither thrilling nor intellectually satisfying. What could have been an insightful commentary on the dangers of celebrity worship, instead spirals into a confusing and forgettable spectacle.
3/5
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My childhood consisted of weekly visits to Hollywood Video and Sunday morning calls to the local movie theater to hear the showtimes for the day. It was during my sixth trip to the theater to see The Dark Knight (2008) that I realized my love of movies may not be considered "typical." This love led me to completing a bachelor's degree in media arts with a special focus in film from Montclair State University. When I'm not rambling on about movies on TikTok, I am feeding into my online shopping addiction, reading a mystery book with specifically a female lead who has a troubled past, or most likely just eating chocolate chip cookies.
My Favorite Movies: Call Me By Your Name, Scream, Once Upon a Time in Hollywood, 12 Angry Men, and Almost Famous.