Opus - Review

Prestige, elevated horror has been a buzzword genre in the past fifteen years. A band of horror that for the most part, has been for the good of the genre. A24 as a distributor, have been at the forefront of this movement, with films such as Hereditary and The Witch. As a distributor A24 has curated their own distinct aesthetic, but Opus, a thriller with horror elements, is perhaps the very worst of their distinct style.

The film follows Ariel Ecton (Ayo Edebri), a low-level journalist struggling to get the company to approve her to write a meaningful article, despite three years of experience. During a meeting, she pitches an article only for it to be covered by a senior writer. Meanwhile, rumour spreads that Alfred Moretti (John Malkovich) is releasing a new album after almost a 30-year hiatus. Moretti is introduced in the opening scene with an immense guitar solo. Shot from behind with a red jumpsuit and heels to match. The heels become synonymous with Moretti throughout the film.

Moretti announces his latest masterpiece, which his long-haired hippie publicist (Tony Hale) calls the greatest album of modern times, Moretti mania ensues, appearing on every billboard across America. However, before the new album, Caesar’s Request, is released, an exclusive group of journalists are invited to Moretti’s complex for the exclusive first listen. For a reason unbeknownst to Ariel, and the rest of her firm, she receives an invitation. So Ariel and her boss (Murray Bartlett) head to the complex, which teaches a new religion of levelism.

Whilst Opus has an interesting premise, it is severely underdeveloped when it comes to substance. The idea of the return of a pop sensation should be interesting. The idea of a struggling journalist who by complete chance, might get her big break – should be interesting. A cult of levelists who supervise Moretti’s guests 24/7 in the name of world-class service should be interesting. But below the surface Opus has nothing interesting to say. Opus is a complete waste of time.

This is not to say that the film isn’t competently made. It moves along pretty well, the intrigue is probably helpful in that. Ayo Edebiri is charming as the audience surrogate, as a woman shut out of her industry through prejudice. She is the only one to notice the lunacy, insanity and cult following that surrounds the stardom of Moretti. Likewise, John Malkovich is having fun as the egotistical and self-important Moretti. A man who observes everything and cannot be swayed. Honest to the bone but with a deeply troubling moral compass. In one of the film's more chilling scenes Moretti, consumes the background of the screen, peering over Arie’s shoulder to observe her notetaking.

Whilst the premise has promise, the idea that the biggest cult is that of the fans of the artist, it is underutilised. The cult doesn’t stand for anything. The ending twist feels unearned, confusing if anything. If Opus was a cult, I wouldn’t be following any time soon.