A24 caught the internet’s attention when they announced a new psychological horror film starring John Malkovich and Ayo Edebiri. Malkovich has a history of playing chaotic characters in wild movies. Edebiri is possibly the funniest person on the planet and is the reason many of us still watch The Bear. Those who caught her in Bottoms, Theater Camp, and Omni Loop have been begging for her to get more opportunities to showcase what she can do on the big screen. So, I was one of the people pumped to check out Opus and crossed my fingers as I hoped she was about to be my new favorite final girl.
Opus is written and directed by Mark Anthony Green. It follows a group of music journalists and content creators who get invited to the compound of an eccentric pop singer who is making a comeback after disappearing from the spotlight decades ago. When the group arrives, only one of them is uncomfortable with the cult activity surrounding the extravagant and secluded event.
John Malkovich Shines as Eccentric Pop Star Alfred Moretti in Opus
It’s easy to deduce that Malkovich is the over-the-top pop star named Alfred Moretti. His costumes have nods to Elton John, but his persona and mannerisms remind me of when older pop stars would make their comebacks in the 90s. As a kid, I worried they were joining cults. However, as an adult, I wonder if they were my true introduction to cultural appropriation. So, everything Malkovich is doing with Moretti makes perfect sense to me because I have seen it before. We see the cult of celebrity excuse all kinds of eccentric behavior for rich men every day. There is a big The Emperor’s New Clothes vibe surrounding him as everyone goes along with whatever he does or says. They laugh off whatever is weird or co-sign his every whim because kissing his ass is their main objective. Opus tries to do multiple things, but its views on the cult of celebrity is the thesis.
Why Ayo Edebiri Proves Black Women Belong at the Heart of Horror
The only person who sees Moretti and his cult for what they are is Ariel Ecton (Edebiri). She’s the youngest journalist invited and keeps trying to get her boss to allow her to investigate the cult. She knows the new song marking the pop icon’s return isn’t great. She is the only one not okay with guests being under surveillance and thinks it’s weird people are disappearing. Edebiri also manages to capture the feeling of being the only Black woman in the room so much that her performance is the biggest highlight of Opus. No one listens to women, and people especially love to not listen to Black women. This is why we never get to let our guard down, as we have to notice everything happening around us. It is a tiring part of our survival.
Ariel’s ability to work within the power dynamics at play while finding answers is interesting. I love that she is in full final girl mode the entire movie. Too many films last year waited until the last few moments for the final girl to remember she should want to live. Opus is almost highlighting why more Black women should drive horror movies. Our lived experiences force us to be final girls almost daily. I wish Opus had given this idea more weight. Green’s film has thoughts about how Black women are treated in predominantly white spaces. It just never fully explores it because it’s being too nice to its ensemble characters. As a Black woman, I see the anti-Blackness. I am reminded of conversations with white male editors and professors I have had to endure. The microaggressions and being forced to work around fragile egos are the ultimate hurdle to overcome to do our jobs.
Aside from giving Edebiri a leading role in horror, Opus also gives Amber Midthunder a chance to have some fun as Belle. She is by far the most dedicated and terrifying cult member. Green’s script also does something interesting with Rachel (Tamera Tomakili), a Black woman in the cult who shows an interest in Ariel. The film also allows favorites like Murray Bartlett and Juliette Lewis to have fun as older journalists who get high off being in these exclusive spaces. So, while the movie is uneven, at least the performances are engaging.
A Mixed Bag with Standout Performances by Edebiri and Malkovich
Opus might not hit all of the right notes. However, when things are revealed there is a little chaos and a chase scene that almost made me feel alive. While the movie is muddled, and the cast has to do a ton of heavy lifting to make it watchable, I don’t necessarily hate it as much as other people seemingly do. Audiences expected a good movie and got an okay one. It happens all the time. However, it does not mean the whole project is a dumpster fire. Come to watch Edebiri remind us why we can’t quit her. Stay because you can see the traces of more interesting stories lying in wait behind the finished product.
