"Opus" - Review

There is an enigma in the pop world, a celebrated genius who defined the decades, and his name is Moretti. He does neither interviews nor press releases, instead announcing his albums through a VHS release from his agent (Tony Hale) and letting the work speak for itself. This time, Moretti (John Malkovich) is inviting a select group of journalists to experience the album and Moretti. Overlooked aspiring writer Ariel (Ayo Edibiri) doesn't believe the hype, and is along for the ride in this odd commune Moretti has concocted, attempting to figure out when it goes beyond art and becomes dark...

The movie's soundtrack is done by Nile Rodgers: that fact alone absolutely rules. It sounds like something you would believe is the "genre defining" sound of an era, and I would happily listen to this funky stuff for hours on end. The casting of Malkovich is also pitch perfect: he's an actor weird and unusual enough that we believe him as this oddly compelling cult musician but also enigmatic enough to be a compelling mystery in his own right - we don't quite know where he's going and which side of the fence he's on. He really works, especially when performing the bizarre funky music and sexual dances for it. These are bangers.
And Ayo Edibiri is a wonderful straight woman to proceedings: she is drawn into this culty world of celebrity and worship of the "auteur", and is the only one to have read the press releases, the only one to question them whilst her colleagues uncritically absorb it all and relish the celebrity musician's time and efforts: a cute and notable little detail is her mirroring her overbearing boss Stan's (Murray Bartlett) dress sense and being relegated to note taking, whilst also being the only one to actually talk to the people present.
The movie, however, spends too much time stradling twin lanes without committing to one, until it's too late and it falters. We know it's going for a culty atmosphere and there's some excellent horror (a puppet show about Billie Halliday is a personal highlight) including a pretty creative shot of a fight scene with a door, letting the imagination and tension build there; whilst Amber Midthunder (on something of a tear as of late, and I'm excited for "Novocaine") has a fun turn as one of the more intense members of the commune. The fact that Moretti is an eccentric celebrity and recluse makes the reason these star-fucker journalists are staying make sense, and Malkovich is a compelling performer; plus I enjoy the use of the CCTV shots, there's a few spooky parts there. But when it finally chooses to be about the horror and dread angle as everything goes wrong: we've not had a chance to get to know the other journalists. I swear, despite the excellent Juliette Lewis being one of them, I didn't know their names, and they had each had maybe 4 lines iat most? They did their best with the material, but the focus seemed lacking.
But I still err on the side of recommending it, as I rather enjoyed the ending and the ambition.
It ends on a somewhat sinister note about celebrity worship and evolution, and honestly a nice parallel to "Vengeance" and that movie's commentary on society adoring and forgiving criminals and famous people (particularly in today's... climate). Its ambition and reach exceed its grasp for a debut film, but that's refreshing with so many churned out slices of "content" and "product" from studios, and it doesn't always work, but it's a respectable debut from Mark Anthony Green.