The cinematic debut of Mark Anthony Green, previously an editor at GQ, titled Opus, has been categorized as a horror-musical. Distributed by A24, known for its quality productions, the film follows Ariel Ecton, portrayed by Ayo Edebiri, a budding writer navigating the world of entertainment journalism. While the movie touches on themes like celebrity culture and fan obsession, it struggles with clarity and coherence, leaving audiences confused about its central message. Despite strong performances and ambitious ideas, the film remains tangled in a web of unfocused concepts and references to other works.
Ariel Ecton's journey is marked by challenges, particularly her interactions with her self-absorbed boss Stan, played by Murray Bartlett. He often appropriates her ideas for others and neglects her professional growth. Edebiri, known for her role in The Bear, delivers a compelling performance. Yet, in contrast to her acclaimed character Sydney from The Bear, Ariel's success as a writer appears elusive in Opus.
In one pivotal scene, Ariel vents her frustrations to a friend, who suggests that her comfortable upbringing might be hindering her career advancement. This leads to the introduction of the "final girl" trope, hinting at impending trauma. The narrative takes a significant turn when Ariel is chosen to join Stan at a secluded desert compound to interview Alfred Moretti, a reclusive pop icon played by John Malkovich. Returning to the big screen after five years, Malkovich brings flair and eccentricity reminiscent of iconic characters like Ziggy Stardust and Frank-N-Furter.
Moretti's compound, intended to mark his return to the public eye after three decades, reveals itself as a cult with sinister intentions. Guests must surrender their electronic devices, cutting them off from the outside world—a classic horror trope used here perhaps for comedic effect but ultimately undermining the film's commitment to any single genre. The film borrows heavily from various sources, including Takashi Miike's Audition and Ari Aster's Midsommar. Director Green attempts satire, exploring the dynamics between celebrity culture and fandom, but these ideas remain underdeveloped compared to films like Brandon Cronenberg's Antiviral.
Moretti's music evokes a deliberately outdated sound, drawing parallels with Michael Jackson's later works. While the casting of Malkovich and Juliette Lewis lends a 1990s vibe, the film also delves into meta-references, nodding to Spike Jonze's Being John Malkovich. Despite these intriguing elements, they feel disjointed within the context of Opus.
Director Mark Anthony Green shows potential, raising thought-provoking questions about fame and creativity. However, the multitude of ideas presented overwhelms the narrative, preventing the film from coalescing into a cohesive whole. As it stands, Opus leaves much to be desired, suggesting that Green's most impactful work may still lie ahead. The ambiguity surrounding Moretti's motives and his disdain for critics further complicates the viewing experience. Ultimately, while Opus ventures boldly into uncharted territory, it falters in execution, leaving audiences yearning for more clarity and focus.