‘Opus’ Review: Ayo Edebiri Shines In New Cult Horror
We live in an era of celebrity obsession, where hardcore stans protect their celeb of choice with feral dedication behind cartoon profile pictures and bios filled with emojis. And while this era of obsession is defined by its massive digital footprint, stan culture has always been a blemish on society as obsessive fans have blurred the lines between friend and stranger in the name of proving their love. Just look at Beatle-Mania, or what happened whenever Elvis Presley played a live show. Celebrity worship, especially over musicians and singers, isn’t new, and Mark Anthony Green wants to take that to an extreme in his new film Opus. Green crafts a flamboyant pop star through John Malkovich and a modern final girl through Ayo Edebiri to present a vibes-forward cult nightmare that’s beautiful to look at but difficult to invest in.
Malkovich stars as Moretti, the world’s most famous pop star who has reappeared after 30 years. He announces to the world that he’s releasing a new album and will be sharing a preview with an exclusive group of industry insiders. Think Willy Wonka and the Chocolate Factory but with funky pop music and the promise of being recognized by a famous person. Among those invited insiders is Ariel Ecton (Edebiri), a relatively green journalist who hasn’t earned much recognition in the field and isn’t that familiar with Moretti. And yet, her presence is still requested and off she goes with her editor (Murray Bartlett) as they travel to a remote desert compound where Moretti and his followers live.
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Upon their arrival, Ariel immediately notices things aren’t right. Her companions turn over their phones with no qualms and follow ridiculous protocol without a question, while she incredulously watches everyone mindlessly obey. She’s truly the outsider, an anthropologist of sorts, observing behavior and trying to understand Moretti’s true motivations. But the deeper she digs, the more violent the truth becomes.
Edebiri is, unsurprisingly, the shining star Opus, playing a modern version of the final girl who isn’t afraid to ask questions, disobey instructions, and stand face-to-face with those in power. While her humor often shines through, Opus lets Edebiri dive into a darker, more panicked side of herself that further solidifies her all-around star power regardless of genre or subject matter.
Malkovich’s performance, on the other hand, feels akin to that of a modern-day Nic Cage. He’s aware that people think he’s eccentric, so he delivers on that expectation and then some. Sometimes it’s successful and it’s always a joy to watch. But he doesn’t look like a pop star. He just looks like Malkovich in a variety of fabulous outfits and impressively tall platform heels. Something about his performance, while entertaining and certainly hilarious, doesn’t match the type of character Moretti is depicted to be.
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And maybe that’s part of the point, to give us a shocking image of a regular man who somehow has the world at his feet, a boring white man with money and auto-tune who weaponized his white privilege for fame, fortune, and adoration. But Green’s script doesn’t always make it super clear about what the film is trying to say about stardom and celebrity. Sure, there’s the surface-level message about celeb worship and the power of obsession, but Green struggles to go deeper until the very end, which is admittedly a glistening cherry on a delicious but messy cake.
While I may nitpick at Malkovich’s performance and casting, the man does sing three original songs composed for the film by pop legends Nile Rodgers and The-Dream. He really becomes Moretti in his own twisted way and unleashes his own specific brand of comic madness upon his acolytes through songs he declares powerful enough to change the world. The first track is a certified banger, while the other two feel more like generic pop tracks with a splash of disco and a choir of synthesizers. But the visuals Green and his team curate to go with those songs make up for that as Malkovich gyrates across stages in outfits reminiscent of a rabid disco ball.
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The film’s production design as a whole, from set decoration to costume design, does craft a perfectly uncanny vibe that’s both decadent and suspect. Everyone is dressed impeccably and every room screams manufactured perfection. It’s the epitome of “too good to be true”, but the beauty blinds those who find themselves worshipping at the altar of Moretti.
Green curates an incredible vibe in Opus but that isn’t enough to elevate this film to cult status. A smart but ultimately weak script lacks the meat on the bone to sustain Opus from beginning to end. It’s really like any generic pop song: catchy, interesting, but lacking a proper chorus to really make it stick in your head. But if this is what Green is able to accomplish for his first feature, I truly cannot wait to see what he does next. He has a singular vision that, with some honing, will no doubt blow us away.
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Opus (2025)
Summary
Mark Anthony Green curates an incredible vibe in Opus but that isn’t enough to elevate this film to cult status.
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