Rating: 5/10
The greatest thing A24’s newest film, “Opus,” by director Mark Anthony Green, achieves is dullness and lack of life.
The film follows Ariel Ecton (Ayo Edebiri), a young journalist looking to build her career. The world’s biggest pop icon, Alfred Moretti (John Malkovich), invites her to a getaway alongside other notable industry figures at his compound. There, they listen to his newest album after decades of hiatus.
Surrounded by Moretti’s apparent cult and other blindsided guests, it’s up to Ariel to discover his true intentions with everyone — and his album.
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One major issue with this narrative is its reliance on the popularity of Moretti, the film’s in-universe artist. Throughout several moments in the movie, it’s shown that almost everyone on the planet has not only heard of Moretti but adores him and his music.
This sense of adoration feels unrealistic, taking viewers out of what little immersion the movie has. There’s no doubt that several artists today have millions of fans and recognition. However, the extent to which “Opus” depicts this is excessive.
Viewers might also see plot similarities to “The Menu” (2022). It follows a chef who invites guests to his restaurant in a remote location. Later, the film reviews the chef’s intention to kill everyone in the restaurant as punishment for their wealth and pretentiousness.
What made “The Menu” work was its strong build-up of the characters’ stories, from the main protagonist and antagonist to the side characters. In contrast, “Opus” focuses mainly on Ariel and Moretti, ultimately diminishing how much the audience cares about others in the film.
When the other characters’ stories conclude, there’s no incentive to feel anything for them. The viewer has little to no idea how these characters got to the point they’re at.
There is also a distinct lack of expansion on the film’s ideas regarding how critics, journalists and paparazzi look deep into artists and their music, pick it apart and leave nothing to the imagination.
These themes are hinted at throughout the movie but aren’t directly addressed until nearly its end. This leaves viewers wanting more to flesh out the film’s concepts, which could’ve been a highlight rather than an afterthought.
Considering the half-baked execution, both Edebiri and Malkovich captivatingly portray their respective characters with what they are given and make interesting opposites to one another.
Moretti, as a character, is psychedelic with his movements. He grabs viewers’ attention, similar to how he places the other characters in a trance. Ariel acts as the film’s audience stand-in, helping make the world’s introduction feel effortless despite its challenges.
“Opus” is by no means the worst movie released this year, nor is it A24’s worst project. However, its stellar cast is wasted on its underdeveloped story elements and messy script.
