Last Updated on January 30, 2025
PLOT: A group of journalists are invited to a remote compound where a reclusive pop star (John Malkovich) plans to unveil his first album in thirty years. However, when they arrive, they realize the artist has built himself a cult, which may or may not mean harm to the assembled journalists.
REVIEW: You can tell that Opus’s writer-director, Mark Anthony Green, is a former entertainment journalist (he spent years working at GQ). Having participated in my share of junkets and set visits as part of my work with JoBlo, I certainly find it surreal to be taken into an entertainer’s orbit. It’s an exhilarating experience, and Green, who’s clearly experienced this many times himself, mines it beautifully in the film’s first half, where a young writer at a music magazine, Ariel (Ayo Edebiri), unexpectedly gets invited to singer Alfred Moretti’s (John Malkovich) compound as he unveils what’s supposed to be a musical masterpiece.
The first hour of the film, which is light on the horror aspects being teased by A24, works well as a kind of satire on modern entertainment journalists and their relationships with the entertainers they write about. Malkovich is at his best in an atypical piece of casting. Who would ever imagine him as the world’s greatest pop star? Yet, Malkovich, who actually cut several tracks with Nile Rogers (of CHIC) and The Dream, pulls it off, with him looking like he’s having the time of his life playing a kind of New Wave version of Vincent Price.
Everyone seems in on the joke, with the performances fairly broad, with Murray Bartlett a veteran entertainment journalist (and Ariel’s boss) who’s an old hand at rock star debauchery. At the same time, Juliette Lewis plays a gossip columnist who has a history with Moretti.
This first part of the film is a ton of fun, but for me, it starts to go off the rails when the horror aspect kicks in. As the trailer reveals, Moretti’s the head of a kind of New Age cult, and soon, the journalists realize they’ve been lured to the retreat for sinister reasons. However, we’ve seen many cult movies over the years, from Midsommar to The Sacrement, and both did the horror part better. When they kick in, the genre parts almost feel like an afterthought, like Green shoehorned his rather fun satire into a horror film, and the mix is uneven. It’s better when it plays as a kind of music-driven version of The White Lotus.
Ayo Edebiri, who’s incredible on The Bear, does her best with what amounts to a fairly two-dimensional “final girl” role, with her as the only journalist at the compound who finds the fact that this nineties pop star has a cult of personality built up around him unusual. Despite being our protagonist, she’s also a frustratingly passive heroine, even once Moretti’s retreat becomes deadly. The one who’s really having fun in this one is definitely Malkovich.
Another problem with Opus’s detour into horror, other than the lack of originality, is the fact that it’s not scary. Nothing here happens that you haven’t seen before, and once the carnage gets going, it becomes predictable, with very little in the way of inspired chaos. It also has a very anticlimactic ending that tries to explain away the motivations behind the entire plot, but this doesn’t amount to much, ending the film on a sour note.
Considering the talent involved, Opus turned out to be a bit of a disappointment. It’s still a decent first film for Green, who certainly has a promising voice as a director, but the fact is that the last forty minutes of the film don’t live up to the promise of the film’s first hour, which is a ton of fun. As such, Opus is a letdown, but it is still worth watching, especially for A24 fans, of whom there certainly are many. If you go in expecting more of a satire, you’ll probably like this more than if you were to go in expecting anything scary.
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