Mark Anthony Green teams up with Emmy winner Ayo Edebiri and John Malkovich for writing and directing debut, “Opus” from A24.
Ariel Ecton, a young writer portrayed by Ayo Edebiri, is seeking a big break in the competitive world of music journalism. She may finally get her chance when invited to the remote compound of legendary pop star Alfred Morett, played by John Malkovich, who mysteriously disappeared thirty years ago. Ariel, her editor Stan (Murray Bartlett), talk show host Clara (Juliette Lewis), influencer Emily (Stephanie Suganami), along with fellow musician Bill (Mark Silverstein) and veteran paparazzi photographer Bianca (Melissa Chambers), make their way to the listening party.
The group soon finds themselves surrounded by the star’s cult of sycophants, led by Soledad Yusef (Tony Hale) and the chief enforcer, Belle, played by Amber Midthunder. However, things are never what they seem, and soon, the intoxicated journalists, along with a sober Ariel, find themselves caught in the middle of a twisted plan.
Ayo Edebiri is arguably one of the best actresses under thirty working today, while John Malkovich’s name speaks for itself in terms of iconic. Throw in a soundtrack that features the talents of Nile Rodgers and The Dream with an expose on the cult of celebrity, and it sounds like a good night out at the movies. Sadly, like many other genre mash-ups, “Opus” is tonally a mess.
Ayo is good as always and brings an every woman approach to Ariel. From the onset, it’s clear that she’s passionate, and we want to see her succeed. Anyone with ambition will find something relatable in her character. John Malkovich is having a blast as one of the world’s biggest pop stars, mainly when he sings “Dina Simone,” a bop that was his breakout hit. Those moments are when the film has the most fun and is the tone it should have for the duration.
The macabre tone arrives in the third act, but it comes off as forced and feels like a Tubi cat-and-mouse thriller, which Ayo tries her best to elevate. With Green’s uninspired direction, it just doesn’t work. Furthermore, the twist ending is cliched, leaving the door open for an unneeded sequel.
One of the considerations I assessed while viewing the film was the director’s writing style during his tenure at GQ magazine. His understanding of the glossy magazine environment would enable him to succeed in crafting a hyper-realistic depiction of his experiences. Regrettably, Green has not been able to convey his insights effectively in film.
Final Grade: C-
“Opus” opens in theaters today.
