**A Review of *Opus*: A Cult-Themed Pop Star Thriller That Misses the Mark**
Mark Anthony Green’s directorial debut, *Opus*, seeks to merge elements of celebrity culture with a psychological thriller but ultimately falters under its own lofty goals. Although the film teases interesting concepts surrounding journalism and fame, these notions never reach their full potential. The narrative revolves around a music journalist who is invited to an exclusive listening event for a long-anticipated comeback album by an ‘80s rock star who has mysteriously stayed out of the public eye for two decades. Yet, the film’s unsettling ambiance is compromised by a lack of narrative clarity, making the simplest plot developments hard to grasp.
As a former *GQ* columnist, Green occasionally provides keen observations about media dynamics, but the film is otherwise visually and structurally erratic. The performances, especially John Malkovich’s portrayal of the enigmatic rock star, are captivating, yet they are ultimately in service to a film that struggles to establish a coherent voice.
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### The Premise of *Opus*
The film introduces us to Ariel Ecton (Ayo Edebiri), a gifted yet introverted music journalist who meticulously protects a persona she fears lacks distinction. This character foundation is set in an early lunch segment with her friend Kent (Young Mazino) but is swiftly neglected as the focus pivots to the grand return of rock legend Moretti (Malkovich).
Ariel’s primary relationship is with her boss, Stan (Murray Bartlett), a charming yet dismissive white man who consistently overshadows her presence. The two are among a select handful invited to Moretti’s isolated ranch for the reveal of his new album. The film skillfully builds up Moretti’s allure through a montage of news clips, social media responses, and memorabilia, all paired with his fictional ’80s hit, *Dina Simone*, sung by Malkovich himself.
Other attendees include paparazzo Bianca (Melissa Chambers), influencer Emily (Stephanie Suganami), talk show host Clara (Juliette Lewis), and past music rival Bill (Mark Sivertsen). Upon their arrival, the group is transported deep into the desert to Moretti’s compound, where a cult-like entity known as the Levelists resides. This community, clad in matching navy robes, reveres creativity as a sacred force, merging characteristics of a wellness retreat with unsettling fervor.
As the guests are deprived of their electronics to “protect the experience’s integrity,” Ariel grows increasingly suspicious. However, as individuals begin to vanish, the film struggles to effectively convey its sense of thriller. Even as Ariel is depicted as the only individual who perceives the deception surrounding Moretti, the narrative fails to substantiate her suspicions, diminishing the film’s tension.
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### A Cult Thriller with Visual Disarray
One significant issue with *Opus* is its uneven visual storytelling. The film does not clearly differentiate between Ariel’s viewpoint and that of the audience, complicating engagement with her mounting doubts. While she is portrayed as the sole individual questioning Moretti’s cult-like following, much of what she finds troubling appears to be mere oddities rather than alarming warning signs. Simultaneously, the audience is privy to information that Ariel does not directly grasp, making her alerts seem less convincing and rather unpersuasive.
The film aspires to create an unnerving atmosphere reminiscent of *Midsommar*, but its execution feels clumsy. Instead of slowly immersing Ariel into a mystery, the film presents eerie instances visible only to the audience, rendering Ariel’s reactions disconnected. Even when confronted with unsettling truths, her responses often lack clarity due to erratic editing and awkward framing that quickly diverges from crucial moments.
The film’s technical deficiencies become even more evident during its action scenes. A confrontation between Ariel and a cult member unfolds entirely off-screen, and a subsequent ATV chase is poorly edited, leaving it feeling unfinished, as if the production lacked sufficient footage. These missteps contribute to a sense of hurried craftsmanship, undermining the potential for suspense or engagement.
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### *Opus* Lacks a Defined Message
Aside from its structural shortcomings, *Opus* also struggles with a deficiency in thematic richness. The film bears a superficial resemblance to *The Menu*, where a group becomes ensnared within the world of a celebrated artist with nefarious goals. However, while *The Menu* maintained a sharp satirical edge, *Opus* never fully embraces any specific commentary.
Although Malkovich delivers a compelling performance, Moretti’s motivations remain exasperatingly unclear. When the film finally reveals his aims, they seem arbitrary, lacking the cohesion of a thoughtfully constructed scheme. His lengthy monologues fail to resonate meaningfully with the ongoing events, leaving viewers pondering the overall message of the film.
There are fleeting instances where the film touches on racial dynamics, particularly in Ariel’s interactions with Stan, but these