Opus (2025) - Film Critique

      Opus, 2025.

      Written and Directed by Mark Anthony Green.

      Featuring 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 receives an invitation to the secluded estate of a famed pop star who vanished mysteriously three decades ago. As she navigates the atmosphere filled with the star’s devoted followers and inebriated journalists, she becomes entangled in his sinister scheme.

      A horror film showcasing Ayo Edebiri as the only rational journalist amidst a cult leader and internationally celebrated pop icon portrayed by John Malkovich should not come off as this tedious and uneventful. A major flaw lies in how unconvincing Mark Anthony Green’s Opus unfolds, failing to credibly present the psychological manipulation of obsessed journalistic fans who are gathered for a monumental album release (30 years after his last “masterpiece”) or to convincingly portray the once-in-a-lifetime genius of the artist. While John Malkovich possesses the charisma and flamboyant attire, the music fails to resonate, which is problematic since the filmmaker intends to equate the structure of this film to that of a pop album.

      On the other hand, one could argue that the forgettable music may serve a larger point—namely, that the artist's music is subpar, and no one should be lured into his bizarre cult that idolizes “masterful” artists. However, if this were the case, it’s puzzling why they enlisted musicians The Dream and Nile Rodgers to craft catchy songs that might elicit the same sycophantic excitement seen from the journalists and various cult members, including children (as part of their mission involves instilling this lifestyle from a young age).

      Ayo Edebiri's character, Ariel, struggles to secure an important article while surrounded by male colleagues who consistently claim the more captivating assignments for themselves. The distinction here is that Ariel is not engrossed in the music but is much more intrigued by Moretti’s (John Malkovich) Levelist cult, similar to the likely interest of the movie's viewers. A friend even suggests that engaging in an unusual experience would enhance Ariel's writing and make it more compelling. By this reasoning, the film seems to imply that the cult and the narratives surrounding Moretti’s most devoted followers are where the true fascination lies, yet it still falters in attempting to entertain through the singer’s superficial music. This creates a series of confusing contradictions.

      Despite this, Ariel persuades her colleague Stan (Murray Bartlett) that if he is to write the album review, she should be allowed to cover the cult. He resists because, like everyone else invited to this egocentric gathering—complete with odd rituals like passing a single piece of food down the entire table for sharing, shaving all body hair, and being unknowingly monitored by security cameras while having all technology removed—they are almost entranced by Moretti. No bizarre activity seems to unsettle them.

      The one bright spot (aside from the lead performances) is that Mark Anthony Green has a knack for creating jump scares. There are shocking moments here that catch one off guard. Naturally, this might feel more impactful due to the lack of substantial happenings elsewhere, but it’s also fair to note his proficiency behind the camera in generating sudden tension.

      Regrettably, Opus predictably stagnates before the climactic finale, revolving around familiar, conventional discussions about cult followers, mass murderers, and the journalists who capitalize on documenting these stories. When it's not targeting celebrity worship with broad humor, it wanders aimlessly as both a film and a 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 also serves as the Reviews Editor for Flickering Myth. Check here for new reviews and follow my BlueSky or Letterboxd.