A24, the production and distribution company behind many of last decade and a half’s best films (Moonlight, Everything Everywhere All At Once, The Brutalist, the list goes on) has become synonymous with a certain genre style: slick art-house horror, whose themes stand-in for some sort of social issue. Of course, films like Hereditary and Midsommar come to mind, but Opus, the latest from the production company, might fit the bill a little too well.
A small, select group of people representing different media outlets are invited by Moretti, a recluse pop star, to his vast compound to listen to his first album in 30 years. Ariel, played by Ayo Edebiri, is a talented, young journalist at a culture magazine who is hungry for a big important story. She’s invited, alongside her boss, a daytime TV host, a gruff podcaster, a paparazzo, and an influencer. These personalities are revealed to have some connection to Moretti in the past, and as you can imagine, they start disappearing like they’re the children in Willy Wonka’s chocolate factory.
John Malkovich is Moretti, an elusive cryptic pop star who’s an amalgamation of David Bowie, Michael Jackson, and Kanye West. He lives on a large compound with seemingly hundreds of followers who are all there to learn about Levelism, a self-help cult. The personification of Moretti is so promising that it’s let down that his music doesn’t have more of a presence in the film. His music is written by The Dream and Nile Rodgers, two industry legends who bring a proper amount of gravitas to the material. There are about three instances where you hear a full song by Moretti and you immediately want to add them to your playlist. The standout, “Dina, Simone” is like if Prince collaborated with The Weeknd. It’s really a shame that this movie takes what feels like a monumental and frightening presence, and doesn’t do anything actually noteworthy with it for the story.
This movie is sadly a little boring. It not only goes exactly where you think it’s going to go, it doesn’t try to subvert expectations. People disappear and the camera catches glimpses of them as if they didn’t have enough time to leave the frame. Ariel is the only person who isn’t charmed away by the mysterious rituals the guests are forced to participate in, constantly asking questions of followers and Moretti himself. Nothing ever gets explained away for the benefit of drawing out the mystery. Ariel feels strange about being there and she never feels better. In a scene toward the climax of the film, everyone who is left learns what the cult has been doing behind the scenes and the audience has no other choice but to think, “Well, duh!”. The most frightening thing about the scene is the bizarre puppet show featuring Billie Holiday and rat journalists that proceeds it.
Everyone involved is giving it their all. Ayo Edebiri is a bonafide movie star and Hollywood should be desperate to get her in something worthy of her chops. John Malkovich brings his a-game into being a creepy rich musician. What kills these performances is the editing and direction. First-time feature director Mark Anthony Green bit off a little more than he could chew with this concept. The geography of the compound is completely incomprehensible. Brand new locations are introduced during a stealthy set piece and not knowing where anyone is or is coming from keeps the audience from truly becoming immersed. When Ariel is discovered from her hiding spot in a crucial moment, the door closes and the camera stays fixed on the door till someone leaves. This is some true misuse of stakes and tension. Staring at a door while hearing action on the inside, in a film that at this point has had some gruesome violence, is like someone explaining a magic trick to you as they’re doing it to you. If we know the trick, why hide it?
2 out of 5 stars
The Menu, Get Out, Don’t Worry Darling: all non-A24 movies that get labeled with A24 vibes. It does seem appropriate that after over a decade in the business, A24 would produce its own film that fits the mold to the point of parody. Opus fails as a horror thriller but delivers some fun music and performances.
