Ayo Edebiri

John Malkovich

Juliette Lewis

Murray Bartlett

Melissa Chambers

Tony Hale

Stephanie Suganami

Mark Sivertsen

Amber Midthunder

Tatanka Means

Aspen Martinez

Peter Diseth

Tamera Tomakili

Rose Marley Meizlesh

Jasper Keen

Young Mazino

Jean Effron

Justin Perry

Aimee McGuire

Chris Highlands

Andrew McMaster

Lily Joy Winder

Orion Carrington

Jeremiah Core

Marjorie W. Conner

Lex Lotito

Gabriel Armijo

Casey Messer

Samantha Christine

Rosario Dawson

Tristan Manyhorses

Ryan Cowles

Sean McCormick

Bill Burr

Lenny Kravitz

Lil Nas X

Sarah May Sommers

Michael E. Stogner

John Freelykirk

Justin Peach

Crystal Mayes

Joellyn Baca

Sara Newkirk Simon

Joshua Bachove

Poppy Hanks

Nile Rodgers

The-Dream

Brad Weston

Jelani Johnson

Charles D. King

Mark Anthony Green

Collin Creighton

Ashley Keel

Ernie Gilbert

Tommy Maddox-Upshaw

Angelique Midthunder

Marcia Calosio

Shirley Kurata

Jennifer M. Quinteros

Chase Heard

Madeline McCue

Shannon McChristy

Allie Swift

Chance Romero

Todd Amateau

Beatriz Loera

Chelsey Danielsen

April Boeckner

Jessie Casias

Alan Chao

Ashley Crandall

Alec Gray

Micah Hallock

Tobias Harding

Logan Maloney

Michael Maloney

Josiah O'Neil

Amos Overson

Mercy Quinones

Uttam Rai

Joshua Swanson

Amrit Twibell

David White

Zack Zamora

Phillip Bladh

Ben Greaves

Emily Jane Price

Trevor Turner

Opal Fleischmann

Eric Sibley

Aaron Estrada

Ed Duran

Juliene Joyner

Crystal Michelle

Derick Pritchard

Dorian Blanco

Daniel Duerre

Kevin Emmons

Elijah Gomez

Matt Harshbarger

Rob Salviotti

Jason Schultz

Spencer Valdez

Riley Adamson

Nathan Bancroft

Anastasia M. Cummings

Adriana Valenzuela

Bryan Benning

Danny Bensi

Saunder Jurriaans

Horror

Mystery

Thriller

Opus

Makeready

MACRO

United States of America

English

pop star

cult

psychological thriller

cult of celebrity

mysterious disappearance

CinemaSerf

This had good potential and John Malkovich can usually be relied upon when eccentricity is needed, but the rest of this is an incomplete and rather messy reminder of “Midsommar” meets “Ten Little Indians”. He is the reclusive pop star “Moretti” who announces after almost thirty years away, that he is to release his comeback album. The industry goes wild for this news and when he announces his own version of a golden ticket and invites a select group to join him for an exclusive get together at his ranch, the enthusiast journalist “Ariel” (Ayo Edebiri) accompanies her limelight hogging boss to this ultimate weekend. Of course, as soon as she arrives she finds the place akin to a cult. Loads of almost automaton acolytes, some cruelly painful oyster shucking and loads of sexually fluid flamboyance from their host all starts to get her heckles up and gradually we become aware that their is an altogether ulterior motive for this carefully contrived fine dining experience. When one of their number goes missing, well things rapidly speed to a denouement that is straight out of Agatha Christie. The point it makes in the end is actually quite a clever one, but the rest of this is all derivative and simplistic. Why were this group selected? Who are they? What have they in common with each other or with their antagonist? For something that’s supposed to be random and spontaneous, the entire plot depends on characters making very specific (and not always the most natural of) choices en route. Malkovich does stand out, but that might also be as much to do with the really mediocre writing and the remainder of the cast delivering a very join-the-dots performance. Sadly, this is nothing original nor special and really disappoints.

Louisa Moore - Screen Zealots

Director Mark Anthony Green’s “Opus” is an ambitious but uneven satirical horror-thriller that bites off more than it can chew. Centered on a young journalist named Ariel (Ayo Edebiri) who is invited to the secluded desert compound of a legendary pop star (John Malkovich) long thought to be missing, the film attempts to explore themes of celebrity worship, journalistic ethics, and the cult of fame. Unfortunately, despite its lofty aspirations, it never fully delivers on its big ideas.

The cast is terrific, and their hard work keeps everything from sinking completely. Edebiri is so relatable (and quite funny) as a rookie writer caught in a surreal and sinister game, while Malkovich (who is perfectly cast here) fully leans into his enigmatic, manipulative role. Their dynamic crackles with potential, making it even more rewarding to watch as the cast of supporting characters (an entourage of sycophantic followers and inebriated journalists) are picked off one by one despite the warnings from Ariel that something is just not right.

There are moments of sharp and inspired satire, especially in the exaggerated, synth-laden musical interludes that showcase the absurdity of celebrity culture. The lavish parties, meals, and activities are fun until they aren’t. The eventual discomfort of a reveal and bloody violence that follows is equal parts shocking and hysterical, and all of the film’s more outrageous moments at least feel earned.

Despite getting a lot of things right, the film suffers from an identity crisis. It wants to be a biting critique of pop culture obsession, a psychological thriller, and an eerie horror film all at once, but it never quite lands any of these elements in a satisfying way. Green sets up intriguing ideas but doesn’t develop them meaningfully. Not only does the tension never really escalate, but it culminates in an ending that feels like an epic letdown of an afterthought instead of a deliciously wicked payoff.

In the end, “Opus” isn’t as clever as it thinks it is (or as it wants so desperately to be). It flirts with brilliance, but settles for just being merely okay.

By: Louisa Moore / SCREEN ZEALOTS

Opus( 2025)

A once-in-a-lifetime experience.

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A review by CinemaSerf

Written by CinemaSerf on Wed Mar 19 2025

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