‘Opus’ Review: Ayo Edebiri and John Malkovich Can’t Rescue This Celebrity Cult Horror Misfire

by

In Mark Anthony Green’s slow-paced film debut, Opus, Ariel Ecton (Ayo Edebiri), an ambitious and energetic journalist, yearns for a major career breakthrough. Similar to many young magazine professionals, she often finds herself overlooked for significant articles and high-profile interviews, even when the ideas originate from her own mind. However, when Ariel receives a promising invitation from the legendary musician Alfred Moretti (John Malkovich) to preview his long-awaited new album at a secluded location in Utah, she seizes the chance without hesitation. The enigmatic pop star, reminiscent of David Bowie, has been absent from the music scene for three decades, and covering his comeback is an unparalleled opportunity.

A series of moderately funny black comedies have paved the way for Opus. Movies like Triangle of Sadness, The Menu, and most recently, Blink Twice have tackled themes such as the wealthy elite, the absurdities of high-end dining culture, and the protection of powerful men, respectively. However, these films often fall short in their execution, coming across as more self-righteous than insightful, and failing to effectively convey their messages. The debut film by Green, a social satire about journalism and celebrity culture, has left me with the impression that this genre is doomed. Despite strong performances from Edebiri and Malkovich, Opus struggles to take flight. It mostly drifts along, relying on heavy-handed expository dialogues to drive the story, and seldom lives up to the terror it promises in its setting.

Ariel is one of the seven individuals who have been invited to visit Moretti’s estate. This party consists of: Stan, Ariel’s supervisor from work (Murray Bartlett, known for his role in ‘The White Lotus’), a well-known magazine editor; Clara Armstrong, a popular television personality often referred to as a “sex symbol” by Stan; Bianca Tyson, a notorious photographer of celebrities; Emily Katz, an influential figure on social media platforms; and Bill Lotto, a podcaster who happens to be one of Moretti’s adversaries. The group gathers at an airport somewhere in Utah (though the filming actually occurred in New Mexico), where they are picked up by a staff member of Moretti’s, whom Ariel humorously describes as a “creepy greeter,” and driven for four hours to their destination.

If the scenario seems reminiscent of something, it’s because back in 2018, Kanye West (now known as Ye) invited a group of journalists and celebrities to a ranch in Wyoming for an album listening party. Green, who used to work at GQ, finds the peculiarity of this event intriguing and meticulously describes how Moretti manages his estate. Similar to Slater King’s island residence in Blink Twice, the pop star employs locals who provide exceptional and personalized concierge services at his ranch. Upon arrival, guests are required to hand over their phones, and each night features a luxurious dinner presented in a refined setting. Not unlike The Menu, there are cameras throughout the property.

The movie “Opus” opens powerfully, initially depicting Green’s quick sketch of magazine office life, followed by Ariel’s initial days at the compound. The film maintains the stylish appearance as its previous versions, a decision that emphasizes the artificiality of these situations. The music (composed by Danny Besi and Saunder Jurriaans) is fittingly eerie, and it’s an enjoyable detail that Moretti’s songs are penned by Nile Rodgers and The-Dream.

At the initial dinner, Moretti gives a speech designed to highlight his charismatic appeal, much like that shown by famous figures who seem larger than life. Malkovich’s understated and authentic portrayal, characterized by a deep and drawn-out tone, contrasts sharply with Green’s extensive dialogue in the script. There’s an evident enthusiasm for these concepts, but rather than allowing audiences to infer meaning, the director opts for lengthy explanations that can be tiring. The movie’s flow and characters, particularly Edebiri’s Ariel, are adversely affected by this method of storytelling.

Odd events start happening right away, and Ariel, who’s known for her intelligence, jots down observations immediately. The fearless journalist often records these notes in her notebook, which provides much of the humor for Opus. Edebiri, always entertaining to watch, maintains a good mix of anxious excitement and doubtful curiosity. However, even Edebiri’s exceptional comedic delivery isn’t enough to counteract a relentless script. Similarly, other characters find themselves in a similar predicament, as they are portrayed rather superficially, serving more as decoration than integral parts of the story.

In the story Opus, Green effectively builds tension and creates a sense of foreboding, yet fails to provide sufficient time for the horror to fully unfold. Consequently, when the violence erupts and the guests react in terror, the impact seems somewhat belated.

Read More

2025-01-29 02:55