Reel Review: Great Acting Performances Cannot Save Opus From Lackluster Story
An elusive and legendary pop star, Alfred Moretti (John Malkovich), announces a comeback for the decades by summoning a group of journalists and fans to his remote compound. Through the week of chaotic album promotion, things start to unravel in unnerving ways.
Knowing this film comes from A24, you’re ready for some weird and wacky twists that are fairly unsettling. In some ways, Opus delivers just that, but not at the caliber usually expected from the unconventional studio. Ayo Edebiri is a fantastic leading lady, taking on a more dramatic role outside of her comedy chops. John Malcovich comes out swinging with an extremely out of pocket performance, warranted given the ego that the pop star he portrays seems to have.
In the beginning, this cult-like compound feels fairly reminiscent of stories we’ve seen before. People are seemingly happy, staff are attentive, and no one seems to bat an eye at what most normal people would deem weird or off. It is hard to ignore many of the similarities that this situation and character has to Kanye West. The element of church, preferred clothing, and even very specific requests. The ego of this music industry veteran is unchecked as people view him as a higher power, bowing down to his every ask.
Things start to go awry when one of the week’s guests go missing. An excuse is made that he has been sick, but as viewers we know he was assaulted by a compound employee. However, what keeps you guessing is if this is a one off task or the start of something more sinister. An odd performance in a mostly empty room elicits some erotic behavior, further pushing levels of discomfort. The only person second guessing anything is rookie journalist, Ariel (Ayo Edebiri). Her fears are silenced and excuses are made, but without her phone or an escape plan, she has no choice but to follow along.
As compound guests slowly get picked off one by one, things come to a head when the children put on a puppet show. This show is a satire on how the press treats artists. From journalists asking invasive questions to influencers speculating on personal details, it is hard to see how anyone successfully navigates fame. Something that has clearly gotten to Moretti as he attempts to pick off each of his guests due to their mistreatment.
While Opus attempts a strong commentary on fame, journalism, and the role that both play and contribute to the world, much of it seems to fall apart in the third act. The cult that Moretti formed seems to live on past his incarceration, while sole survivor Ariel makes her writing debut with a novel detailing her experience at the compound. After a prison visit, she learns that this was Moretti’s plan the entire time. He used Ariel’s skill and ambition against her in order to further spread the word of his cult and catapult himself to a further level of fame.
The main goal of the film seems loose itself in the third act, failing to portray any meaningful message. Opus may be an interesting and compelling watch, but none of it feels new or refreshing. In a world where everyone has the power to say anything about anyone, it feels like a missed opportunity to comment on the effects of what is modern journalism. If for nothing else, watch Opus for the unhinged dynamic between Ayo Edebiri and John Malcovich who both excel in their roles.
Opus is playing in theaters now.
