"Opus": A Satirical Dive into Fame, or a Missed Mark?
1. Introduction to "Opus" and Its Vision
"Opus," the debut feature film from Mark Anthony Green, a former GQ style columnist, attempts to blend biting satire with horror elements to critique the world of fame and celebrity culture. The film, written and directed by Green, aims to say something profound about the nature of fame while positioning its creator as a fresh voice in the horror genre. However, the film falls short of achieving both its satirical and horror ambitions, leaving viewers underwhelmed by its execution and originality.
The story centers around Ariel Ecton, a 27-year-old journalist played by Ayo Edebiri, who feels unfulfilled in her career at a prominent magazine. Her world shifts when she receives an exclusive invitation to the desert compound of the enigmatic pop star Moretti (John Malkovich), a reclusive singer from the ’90s returning with his first album in decades. This setup offers Green the opportunity to explore themes of fame, creativity, and the cult-like devotion of fans. Yet, the film struggles to land its critiques, relying instead on overly broad characterizations and predictable horror tropes.
2. The Plot Unfolds: A Descent into Weirdness
The narrative begins with Ariel’s dissatisfaction with her job, where she feels unchallenged and uninspired. Her life takes a dramatic turn when she, along with her boss Stan Sullivan (Murray Bartlett) and a handful of other high-profile guests, is invited to Moretti’s secluded desert compound. The guest list includes a TV personality (Juliette Lewis), an influencer (Stephanie Suganami), and a paparazzo (Melissa Chambers), all of whom are eager to be the first to hear Moretti’s highly anticipated album.
From the moment they arrive at the compound, it becomes clear that something is amiss. Moretti’s hospitality is bizarre and oppressive, featuring shared, saliva-soaked bread rolls at a banquet and constant surveillance by "concierge" minders who follow the guests everywhere. Ariel is the only one who expresses skepticism about the strange rituals and ceremonies they are subjected to, including one involving pubic grooming, oyster-shucking wounds, and a puppet show featuring a marionette Billie Holiday interrogated by anthropomorphic rats. These scenes are meant to unsettle and satirize the excesses of fame, but they often feel more absurd than insightful.
3. A Mixed Bag of Atmosphere and Style
Despite its narrative shortcomings, "Opus" shines in its atmospheric construction. Green proves himself to be a capable filmmaker when it comes to setting tone and mood, creating an unnerving environment that hints at the darkness beneath Moretti’s facade. One particularly inspired scene involves a brawl between two characters, which is conveyed entirely through sounds behind a closed door, leaving the visuals to the audience’s imagination. This moment showcases Green’s potential as a horror filmmaker, even if the rest of the film doesn’t consistently match this level of creativity.
Ayo Edebiri stands out as Ariel, bringing a sense of relatability and groundedness to her character. Her performance keeps the film anchored, even as the story becomes increasingly surreal and the supporting cast veers into caricature. Unfortunately, the other characters feel one-dimensional, with the likes of Stan and the influencer bordering on parody rather than nuanced portrayals. The film’s attempt to satirize fame and the media often feels too broad, lacking the subtlety needed to make its critiques truly biting.
4. The Enigmatic but Over-the-Top Moretti
At the center of the film is John Malkovich’s portrayal of Moretti, a character meant to serve as both a symbol of artistic enigma and a cult-like figure. Malkovich, known for his larger-than-life performances, takes the role to extremes, blending elements of Prince, Elton John, and even his own signature eccentricity. While his performance is undeniably memorable, it often feels over-the-top, leaning heavily on campiness rather than depth.
The film’s attempt to situate Moretti as a ’90s icon feels misplaced, and the character’s supposed musical legacy lacks authenticity. The original songs, performed by Malkovich and penned by Nile Rodgers and The-Dream, do little to anchor Moretti as a credible pop icon. Instead, they feel like a missed opportunity to add genuine emotional weight to the story. Moretti’s descent into cult-like behavior, complete with holistic rituals and control over his guests, is meant to terrify, but the character’s motivations and actions often come across as more absurd than sinister.
5. A Horror Miss: Predictable Twists and Lack of Originality
Where "Opus" truly stumbles is in its horror elements. The film relies heavily on its eventual twists to deliver scares, but these reveals are neither as shocking nor as original as Green seems to think. The explanations for Moretti’s behavior are underwhelming, lacking the complexity needed to leave a lasting impact. The film’s attempt to unsettle through bizarre visuals and rituals often feels more campy than chilling.
The compound itself, reminiscent of horror movie staples like the upstate home in "Get Out" and the Swedish enclave in "Midsommar," is a setting rich with potential for tension. However, the film’s execution fails to rise beyond its influences, feeling derivative rather than fresh. The overly reliance on familiar horror tropes makes "Opus" feel like a shallow imitation rather than a bold new take on the genre.
6. Conclusion: A Missed Opportunity for Sharp Satire
"Opus" had the potential to be a sharp, incisive critique of fame and the cult of personality, but it misses the mark by a wide margin. While the film shows flashes of promise—particularly in its atmosphere and Ayo Edebiri’s performance—it is ultimately undone by its broad characterizations, lack of originality, and overreliance on horror clichés. The film’s humor and satire are too blunt to land effectively, and its horror elements are more likely to induce eye-rolls than genuine fear.
For those who appreciate campy, over-the-top performances and are fans of John Malkovich, "Opus" might offer some moments of entertainment. However, for viewers seeking a nuanced exploration of fame or a compelling horror experience, the film feels disappointingly retro and uninspired. Despite its ambition, "Opus" fails to leave a lasting impression, proving that sometimes even the most promising setups can fall flat without proper execution.
In the end, "Opus" is a film that aspires to say something meaningful about creativity, fame, and the dark side of obsession but ends up feeling like a misfire. It is a reminder that satire and horror are challenging genres to blend, and without a sharper vision, even the most intriguing premises can struggle to resonate.