Cult films are tricky to pull off. The reason why is as an audience we’re meant to feel uneasy and yet comforting at the same time and finding this balance is hard for screenwriters and filmmakers to pull off. One of the most recent films that dives into cult territory and achieves this balance perfectly is Midsommar. Ari Aster set a new benchmark in a European “Wicker Man” inspired tale about grief and relationships. The film this review is centred around today almost mimics and attempts its own style and perspective on the genre in an American Rock and Roll style cult film with Opus.
Opus is filmmaker Mark Anthony Green’s first feature film and it shows, which is both a good thing and a bad thing. He has a palette and a tone that feels remarkably well made but when stitched together amongst the narrative you soon believe you’ve seen all this before. Elements of The Wicker Man and Midsommar have appeared to have laid the foundation for the story behind Opus. The story here is centred on the idea of worshipping a pop icon, a celebrity who wishes to be adored but abuses that power and influence to manipulate his audience.
The characters are pretty well constructed from the out-set with the heroine of the film being Ariel, a journalist who is equally curious and sceptical, and is played by Ayo Edebiri in a role that displays just how talented she is as a young actress. She holds off against the villain of the film, so to speak, as the role of the celebrity comes down to John Malkovich as Alfred Moretti. Moretti is this idolised figure which the world adores and with Ariel’s invitation to a private concert alongside her boss she casts a very subjective mind-set of how to view Moretti. Everyone may love him but she feels like something is amiss and off course she is right.
Opus shrouds the majority of itself in mystery as the events unfurl in a structured but yet natural way. The more we learn about the mysterious retreat which Ariel and a select group of other individuals arrive at, the more we discover the true intentions. Saying that we never truly dive deep into the religion and actions of the group. We learn of their perspectives and way of living but never truly find out why. The ending leaves a lot more questions and the final few beats feel very undramatic, leaving audiences feeling almost dissatisfied by the final moments. Malkovich and Edebiri are formidable foes who balance each other out in terms of their insecurities and suspicions, which does make for some engaging moments. What is left is a concept ripe for exploring but sadly remains unexplored.
★★★☆☆
3/5
Final Verdict:
Opus has a lot to say but it just doesn’t know how to quite say it. There is an underlying religious message somewhere amongst the story and characters, but it doesn’t manage to reach it until towards the end. John Malkovich is completely magnetic as the role of the illustrious and mysterious pop icon Alfred Moretti and Ayo Edebiri admirably holds herself against him as the journalist Ariel. The end result is something we’ve seen plenty of times before but at least some of the shocks and surprises in Opus are creative even if the script fails to do so. In terms of films about cults, Opus unfortunately only holds up a mirror to them as another imitator of the genre.
Thanks for reading today’s blog!
Alex Murray, the Head of Eyesight Productions
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