Much of Opus, from writer-director Mark Anthony Green, rests upon the talents of John Malkovich. He plays the film’s mysterious villain, a character who also happens to be a famous musician. Now, Malkovich is no stranger to creepy roles, but it is something to see him in this flashy wardrobe, dancing to faux-pop tunes (from Niles Rodgers no less). That is, however, about as interesting as the film gets.
In the world of Opus, Malkovich is the ultra-reclusive Moretti, a pop star celebrity for the ages. After a 30-year absence, his sudden reemergence with a new album is how Ariel (Ayo Edibiri), an upstart writer, and others (including Murray Bartlett as her boss), find themselves at a bizarre Utah-based compound. As performed by Malkovich, the cult-like vibes wafting off Moretti are obvious, yet the invitees, save Ariel, are more than willing to go with the celebrity-induced flow. What Green does with this setup follows a standard template: we watch as the situation gets weirder, the dread continues to build, and we hope the pay-off will be worth it. For her part, Edibiri has no problem engendering our sympathy as a put-upon journalist, a young artist trying to make a name for herself. The film around her, however, is filled with all-too-familiar signifiers and boring tropes (or it too blatantly borrows from real life). When the film does erupt as expected, there’s no real surprise, just a hollow feeling. As it happens, Moretti’s “important” music seems to match; this cult emperor has no clothes.
In all, Opus is part of a trend of “elevated” horror films that proudly—albeit clunkily—announce they are about something. As a result, there’s little subtext to Green’s film; he too is loud about his intentions. While he benefits by having Malkovich explain his grand point, the film is far too self-satisfied to matter. Edibiri’s Ariel may have second thoughts, but it’s clear Green hopes to be a celebrity too.
