By Seb Jenkins - March 12, 2025
Ayo Edebiri and John Malkovich star in a cult of celebrity thriller, but the script fails to deliver on a chilling concept.
When does Beatlemania blur the sinister lines of Manson Family ethos? At what point are celebrities too protected by the fans? Just how far could a renowned star go before the masses stopped following? Blink Twice meets Get Out as Mark Anthony Green makes his debut as writer, director, and co-producer in Opus, exploring the cult of celebrity in the most sinister of settings. Unfortunately, a delicious John Malkovich performance cannot paper over the cracks of what should have been an addictive breadcrumb thriller.
Alfred Moretti (Malkovich) was the most famous pop star on the planet in the 1980s, known for his eccentric showmanship and iconic wardrobe. After 30 years out of the game, Moretti unexpectedly returns with the announcement of new music – the greatest album of all time. As the world descends into giddy chaos, six media personalities are invited to listen to the album pre-release in the presence of the main man himself. We have a former rock star rival of Moretti’s (Mark Sivertsen), a television host (Juliette Lewis), a famous paparazzo (Melissa Chambers), an influencer (Stephanie Suganami), the editor of a magazine (Murray Bartlett) and a surprise addition to the group – frustrated junior journalist Ariel (Ayo Edebiri).
Rather than being put up in a five-star hotel and whisked away to a Los Angeles music studio, the selected six are shepherded by bus and by plane to a mysteriously remote commune. Consistently overlooked by her self-serving editor, Ariel is determined to take the opportunity with both hands in order to write a career-defining article. The rest of the group is more focused on lapping up the free alcohol and further inflating their professional egos. Amidst the ethereal aura of Moretti’s unrivalled celebrity, only young Ariel is able to see the situation for what it really is – cultish conditioning. Just how far can Moretti push things before the accountability of law catches up with his walk-of-fame status?
The unfortunate truth of Opus is that it could and should have been a memorable hit horror. Malkovich embodies the chaos of Moretti with eery calmness, transitioning more and more from McCartney to Manson with each passing hip thrust. As he so often does, Malkovich throws himself full force into the character and commands the screen with all the unwavering authority of… well, a cult leader. The same should be said of Ayo Edebiri but the star of The Bear is woefully underutilised past the 20-minute mark. While Naomi Ackie made us feel every lurching twist and spine-chilling scream in Blink Twice, this feels far less immersive in its treatment of Edebiri. Anyone with even a slight finger on the pulse of media knows the comedic and dramatic chops she boasts, but Opus reduces her to more of a plot vehicle – like the playable character in a video game.
In fact, that is a common theme across Opus in general – Green and co never quite push far enough, leaving themselves with a tapestry of unexplored threads. While the film poses interesting questions, it never quite homes in on a clear focus or message. Are we shining a light on the cult of celebrity? Or the fragility of fame? Or the intrusive nature of the media? In truth, the answer is all three, which leaves the storyline feeling more than a little muddled.
Had Green selected one key theme and created a more natural formula around it, this could have been one of the most enjoyable horrors of 2025. Having Ariel uncover breadcrumbs while descending into more and more sinister revelations, culminating in a traumatic showcase of Edebiri’s true horror acting range would have been far more satisfying. Opus almost does that but leaves us feeling rather short-changed following a slow build-up and fizzling final act.
With that being said, Opus does do a lot of things really well too. Malkovich is as addictive to watch on the big screen as ever, while Juliette Lewis and Murray Bartlett are always worth their weight in gold. Amber Midthunder also continues to impress after starring in Prey (2022) and Avatar: The Last Airbender (2024). A special mention has to go out to Nile Rodgers and The-Dream who create some incredible original songs – which feel pivotal for a storyline centred so heavily around a self-proclaimed musical God. In the end, Opus works as a fun mystery thriller, but I can’t help but feel it could have been so much more.
Releasing in cinemas March 14
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