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.
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Louisa Moore - Screen Zealots
4
By Louisa Moore - Screen Zealots
Director Mark Anthony Green’s “Opus” is an ambitious but uneven satirical horror-thriller that bites off more than it can chew. Centered on a young journalist named Ariel (Ayo Edebiri) who is invited to the secluded desert compound of a legendary pop star (John Malkovich) long thought to be missing, the film attempts to explore themes of celebrity worship, journalistic ethics, and the cult of fame. Unfortunately, despite its lofty aspirations, it never fully delivers on its big ideas.
The cast is terrific, and their hard work keeps everything from sinking completely. Edebiri is so relatable (and quite funny) as a rookie writer caught in a surreal and sinister game, while Malkovich (who is perfectly cast here) fully leans into his enigmatic, manipulative role. Their dynamic crackles with potential, making it even more rewarding to watch as the cast of supporting characters (an entourage of sycophantic followers and inebriated journalists) are picked off one by one despite the warnings from Ariel that something is just not right.
There are moments of sharp and inspired satire, especially in the exaggerated, synth-laden musical interludes that showcase the absurdity of celebrity culture. The lavish parties, meals, and activities are fun until they aren’t. The eventual discomfort of a reveal and bloody violence that follows is equal parts shocking and hysterical, and all of the film’s more outrageous moments at least feel earned.
Despite getting a lot of things right, the film suffers from an identity crisis. It wants to be a biting critique of pop culture obsession, a psychological thriller, and an eerie horror film all at once, but it never quite lands any of these elements in a satisfying way. Green sets up intriguing ideas but doesn’t develop them meaningfully. Not only does the tension never really escalate, but it culminates in an ending that feels like an epic letdown of an afterthought instead of a deliciously wicked payoff.
In the end, “Opus” isn’t as clever as it thinks it is (or as it wants so desperately to be). It flirts with brilliance, but settles for just being merely okay.
By: Louisa Moore / SCREEN ZEALOTS
