‘Opus’: Sundance Review

Dir/scr: Mark Anthony Inexperienced. US. 2025. 103mins 

Music fandom can generally resemble a cult, however writer-director Mark Anthony Inexperienced’s function debut turns that commentary into grist for a horror-thriller that, sadly, performs a well-known tune. Opus follows an bold younger journalist who will get an invite to spend time with a reclusive pop star, solely to find that his extravagant compound hides darkish secrets and techniques. Regardless of the doubtless enjoyable pairing of Ayo Edebiri and John Malkovich as, respectively, the author and her messiah-like topic, neither the movie’s commentary on superstar nor its escalating physique depend pack a lot punch. 

Segues from toothless social commentary to a predictable thriller

After premiering in Sundance’s Midnight part, A24 releases Opus within the US on March 14, hoping its identify solid, which additionally contains Juliette Lewis, will appeal to style followers. Some could also be intrigued on the prospect of listening to Malkovich sing unique songs written by Nile Rodgers and The-Dream, however the movie could battle theatrically. Streaming may show a greater match for this underwhelming spectacle.

Ariel (Edebiri) works for an acclaimed music journal however has grown uninterested in her boastful boss Stan (Murray Bartlett) assigning her good pitches to extra senior writers. Then the publication learns that Alfred Moretti (Malkovich), a visionary pop famous person who has been out of the limelight for 30 years, will probably be releasing a brand new album. Not surprisingly, Stan is invited to an unique listening occasion at Alfred’s distant desert compound however, inexplicably, so is Ariel. On the way in which there, Stan explains that he will probably be writing the piece — Ariel will basically be his lackey — however she shortly deduces that the compound’s assortment of ardent admirers are literally a cult with lethal plans for the friends.

Inexperienced, who was beforehand a GQ fashion columnist, takes digs at print journalism, superstar tradition and pop stars. However his targets are usually fairly broad, and his intention is haphazard. Alfred’s backstory fails to be remotely convincing — the pretend information clips we see of him throughout his Nineties heyday counsel he was some weird mixture of Elton John and Steve Jobs — and as humorous as Malkovich can generally be in preposterously-pretentious mode, he by no means fairly will get a deal with on Alfred’s pop-icon aura. 

That lack of specificity in Opus’ critique of the music enterprise extends to different facets of the movie. Inexperienced’s screenplay consists of cliched characters, whether or not it’s Bartlett’s pompous editor or Lewis’ shallow entertainment-show host Clara, who has additionally been invited to the compound. Ariel finds herself surrounded by vapid people, however the writing hardly ever permits the actors to be humorously soulless sycophants. As an alternative, we get inane jokes about privileged elites who’re, after all, clueless about the actual world. 

Ultimately, Opus segues from toothless social commentary to a predictable thriller by which Ariel uncovers the depth of this cult’s depravity. Not not like different latest takedowns of the one-percent, comparable to The Menu, Inexperienced’s debut cranks up the violence, the bloodshed a visceral response to the characters’ obscene wealth and energy. However there’s little shock when Alfred’s cult members begin mowing down the pampered friends, and the motion sequences show little ingenuity. 

Working with cinematographer Tommy Maddox-Upshaw and manufacturing designer Robert Pyzocha, Inexperienced offers this sprawling compound an attractive too-good-to-be-true look – which instantly rouses suspicions that one thing depraved should be afoot. Edebiri possesses the correct quantity of cockiness and impatience as Ariel, who is prepared for the world to find what an excellent author she is. The actress’ no-nonsense manner, employed splendidly on The Bear, sporadically entertains when set towards this lavish, phoney pop-star life.

In the meantime, Malkovich should carry gravitas to a really foolish position missing in comedian inspiration. He capably sings Arthur’s songs — Rodgers and The-Dream craft some good bangers for the fictional star — however, as soon as Arthur turns villainous, the efficiency breaks no new floor for an actor who has portrayed greater than his justifiable share of heels.