‘Opus’: Sundance Review

Dir/scr: Mark Anthony Green. US. 2025. 103mins 

Music fandom can sometimes resemble a cult, but writer-director Mark Anthony Green’s feature debut turns that observation into grist for a horror-thriller that, unfortunately, plays a familiar tune. Opus follows an ambitious young journalist who gets an invitation to spend time with a reclusive pop star, only to discover that his extravagant compound hides dark secrets. Despite the potentially fun pairing of Ayo Edebiri and John Malkovich as, respectively, the writer and her messiah-like subject, neither the film’s commentary on celebrity nor its escalating body count pack much punch. 

Segues from toothless social commentary to a predictable thriller

After premiering in Sundance’s Midnight section, A24 releases Opus in the US on March 14, hoping its name cast, which also includes Juliette Lewis, will attract genre fans. Some may be intrigued at the prospect of hearing Malkovich sing original songs written by Nile Rodgers and The-Dream, but the film may struggle theatrically. Streaming could prove a better fit for this underwhelming spectacle.

Ariel (Edebiri) works for an acclaimed music magazine but has grown tired of her arrogant boss Stan (Murray Bartlett) assigning her good pitches to more senior writers. Then the publication learns that Alfred Moretti (Malkovich), a visionary pop superstar who has been out of the limelight for 30 years, will be releasing a new album. Not surprisingly, Stan is invited to an exclusive listening event at Alfred’s remote desert compound but, inexplicably, so is Ariel. On the way there, Stan explains that he will be writing the piece — Ariel will essentially be his lackey — but she quickly deduces that the compound’s collection of ardent admirers are actually a cult with deadly plans for the guests.

Green, who was previously a GQ style columnist, takes digs at print journalism, celebrity culture and pop stars. But his targets tend to be pretty broad, and his aim is haphazard. Alfred’s backstory fails to be remotely convincing — the fake news clips we see of him during his 1990s heyday suggest he was some bizarre combination of Elton John and Steve Jobs — and as funny as Malkovich can sometimes be in preposterously-pretentious mode, he never quite gets a handle on Alfred’s pop-icon aura. 

That lack of specificity in Opus’ critique of the music business extends to other aspects of the film. Green’s screenplay consists of cliched characters, whether it’s Bartlett’s pompous editor or Lewis’ shallow entertainment-show host Clara, who has also been invited to the compound. Ariel finds herself surrounded by vapid individuals, but the writing rarely allows the actors to be humorously soulless sycophants. Instead, we get inane jokes about privileged elites who are, of course, clueless about the real world. 

Eventually, Opus segues from toothless social commentary to a predictable thriller in which Ariel uncovers the depth of this cult’s depravity. Not unlike other recent takedowns of the one-percent, such as The Menu, Green’s debut cranks up the violence, the bloodshed a visceral reaction to the characters’ obscene wealth and power. But there is little surprise when Alfred’s cult members start mowing down the pampered guests, and the action sequences display little ingenuity. 

Working with cinematographer Tommy Maddox-Upshaw and production designer Robert Pyzocha, Green gives this sprawling compound an enticing too-good-to-be-true look – which immediately rouses suspicions that something wicked must be afoot. Edebiri possesses the right amount of cockiness and impatience as Ariel, who is ready for the world to discover what a brilliant writer she is. The actress’ no-nonsense demeanour, employed wonderfully on The Bear, sporadically entertains when set against this lavish, phoney pop-star life.

Meanwhile, Malkovich must bring gravitas to a very silly role lacking in comic inspiration. He capably sings Arthur’s songs — Rodgers and The-Dream craft some nice bangers for the fictional star — but, once Arthur turns villainous, the performance breaks no new ground for an actor who has portrayed more than his fair share of heels.