Opus ★★

Ariel Ecton (Ayo Edebiri) is looking for an opportunity. She is a talented young journalist who, despite making good pitches, finds herself largely overlooked at her music magazine. Her chance comes in an unexpected way with the return of 90s music legend Alfred Moretti (John Malkovich) and the arrival of a non-transferable invitation with Ariel’s name on it to attend a listening party at his remote compound. She is the youngest of the six invitees, all of them journalists or media members and also including Ariel’s boss Stan (Murray Bartlett). Everyone but Ariel also covered Moretti in the 90s and some, as with radio-turned-podcast host Bill Lotto (Mark Sivertsen), even had a feud with the eccentric singer. Nevertheless, they all trek out to Moretti’s compound to be the first to hear his first album in many years. There, they find not only music, but a far more grave story.

The feature-length directorial debut of Mark Anthony Green, Opus shares plenty in common with many recent psychological thrillers. Get Out, Midsommar, The Menu, Blink Twice, and more, share similar setups and, in the case of Get Out and Blink Twice, were also directorial debuts. However, compared to all of them, Opus lacks the same thematic heft. It has many ideas, especially around cults, celebrity worship, media ethics, the danger of power in the hands of an egomaniac, the artistic process, and more, but it is so scattershot that it ends up saying very little about any of these. It struggles to find a cohesive thematic through-line, even as it paints a startling picture of what is going on at Moretti’s compound. As Ariel will soon discover, it is the home to a strange religious cult called the “Levelists” with Moretti’s cult of personality adding a further layer of devotion to those he called to join him there. He does, in fact, have a new album and one that journalists love but all around them are uneasy signs of trouble that the music only serves to distract them from.

It could all work anyway, if Opus had stuck the landing. It builds a terrifying mood with these journalists in increasing peril, being seemingly picked off one-by-one, and only Ariel standing there realizing that something is amiss. Every detail about the Levelists, their beliefs, and their culture is unnerving and raises red flags, while Moretti has a clear off-kilter nature to him that only heightens that fear. Then, it fizzles out. Part of the problem is the final act feels so rushed and sudden, undercutting the climax at a crucial point. Most of the problem is that it feels so haphazard and ill-thought out. All of the aforementioned themes are available and where the film ends up lacking thematic depth is in how it basically just positions it all as an empty revenge film with Ariel’s role in it all feeling underwhelming, leaving these ideas without sufficient or satisfying conclusions. While its opening two acts are familiar, they do pack a punch and have one intrigued about where Opus will turn. When it is revealed what it was all for, it all lands with a thud.

Opus does benefit elsewhere with the comedy of manners work amongst the journalists and cultists landing quite well. The pompous Stan and the vain talk show host Clara (Juliette Lewis) are fascinating watches with Bartlett and Lewis, respectively, giving characteristically strong performances. The shocking requests made of them and the other guests by the Levelists, the absurd rituals of the cult (such as the passing of bread at a table with a twist), and everything to do with the music – from calling Moretti the “Wizard of Wiggle” to how he dances around them in an entrancing sequence to one of the songs from the album – all make Opus a nervously funny good time. A lot of the credit can also go to John Malkovich who is tremendous as Moretti. He embodies every inch of the egotism and sycophantic behavior of the character, while never shying away from chewing some scenery. His physical comedy in the theatrical behavior of Moretti at a dinner gathering or in the aforementioned musical performance give Opus the spark it needs to come to life and be entertaining in spite of its flaws. Ayo Edebiri does well as Ariel, giving a solid charismatic and everywoman-type performance that is comfortably within her range and suits Ariel’s placement as an audience surrogate. Edebiri’s reactions to some of the oddities, especially, land and her alarmed response contrasted with the other media members’ blaise reactions helps to heighten the paranoia, unease, and comedy of the situation.

As a directorial debut, Opus lacks polish and originality though Mark Anthony Green is a name worth watching if he can hone some of the ideas and tones here into a stronger package. As it stands, this film lacks a cutting edge and has an underwhelming third act that ultimately holds it back from being a wholly rewarding experience. However, it does have plenty to offer with a strong cast, genuine suspense and tension, and some laughs that all keep Opus engaging and involving.