The new A24 film Opus spurs reflections about the recently deceased Gene Hackman. The late actor rarely found a genre he could not improve in some form. Hackman made it a point to flourish in movies like The Birdcage, where the role required him to tackle progressive topics with sincere comedic timing. Similarly, he could navigate a darker role, much like his character in Unforgiven. Opus serves as a reminder of another industry icon who can do it all. And that performer is John Malkovich.
With Opus, we are not just experiencing one aspect of John Malkovich; we witness his full range. He is serious, hysterical, terrifying, and truly magnificent in this role. It’s difficult to determine if the movie reaches the same level of quality, but even if it falls short, Malkovich undeniably brings it to life.
What is A24’s Opus about?
The film stars Ayo Edebiri as Ariel, a hungry journalist struggling to find a voice in her job. For the most part, she plays second fiddle to her boss Stan, played by The White Lotus actor Murray Bartlett. Ariel is trying her best to elevate in her profession, but as a friend explains, Ariel’s life experience is too mundane to give her an edge as a writer. Fate takes a turn when an iconic musician reemerges after thirty years to release a new album. The singer in question is an artist named Alfred Moretti, who strangely decides to invite Ariel personally to his compound, along with many other old acquaintances.
With Stan accompanying Ariel to the compound, they are both transported to a remote location in the middle of nowhere, where they meet Moretti and his followers, who mostly dress the same way. The greeting they receive from Moretti and his group is just as visually unusual as other flashy personalities in the music industry. It’s not hard to draw parallels to the unsettling feelings one might experience when stepping into Michael Jackson’s Neverland Ranch or Kanye West’s home. For this reason, one can easily understand why a normal person would not perceive they are surrounded by a cult right away.
As the festivities begin and all the invitees get comfortable, similar to Midsommar, strange events occur. Various guests start to disappear, the people living in the commune practice an unheard doctrine, and Moretti keeps them all on 24-hour watch with an assigned concierge. These escalating anomalies spark a growing unease in Ariel, leading her to suspect far more at play than just an album release.
Filmmaker Mark Anthony Green finds cult figures funny
Opus blends horror with humor, especially in its portrayal of cult icons. The subplot surrounding the “cult figure” cleverly satirizes the phenomenon of celebrity worship. The outsiders drawn to Malkovich’s captivating persona, Moretti, exhibit an unhealthy obsession with him. Ariel’s boss even appears ready to join a cult if asked. The others adore Moretti to such an extent that they completely overlook the glaring red flags surrounding them.
John Malkovich is in top form, playing a blender-filled set of personalities. He takes the obnoxious righteousness of Bono, adds the flamboyance of Prince, and completes the bizarre package with Charles Manson. One might make the argument about his appearance because Malkovich is void of pop star imagery. To that argument, this writer would like to remind the reader about the questionable allure of Mick Jagger.
It’s in these moments where Opus makes the most of its premise. The outsiders are submissive to Moretti’s rules because they are fascinated by him. No matter how weird or uncomfortable the request, they are willing to follow as long as they can be in the presence of Moretti’s work. However, beneath the surface, it becomes evident that Moretti is just as much a pretender as the others.
The story is lacking, but John Malkovich has the flavor
The one issue possibly impacting other reviews is that the narrative feels slightly incomplete. There is a rising tension, and then when the movie finally reveals its cards, the plot fast-tracks to the conclusion. The overall horror elements are minimal and may last about 25 minutes of the film (maybe less). While the story is lacking, it never diminishes the enjoyment of the film.
The movie seems designed with an actor and character-focused agenda. While watching, no one will find shallowness in the roles or within the performances. Murray Bartlett was a gem in The White Lotus, and he remains superb here as a boss who takes advantage of his employee. Ayo Edebiri is solid casting as the final girl and audience surrogate in this compound of crazy cultists. Juliette Lewis always shines in wonderfully weird roles. She has less to work with in Opus than in other properties, but she gives a lot for having so little.
Moreover, Opus is primarily an excuse to let John Malkovich unleash his inner egocentric maniac for 100 minutes. The show-stopping performance may not be good enough for others, but, personally, it was a delight to watch. After all these years, Malkovich can craft a layered performance that inspires fear, joy, anger, empathy, and disgust. In summary, I drank the John Malkovich Kool-Aid with zero regrets. Like Gene Hackman, we must cherish and celebrate this remarkable talent while we still can.
The Studio Review: Apple TV Delivers One Of The Best Comedy Series In Years
Sundance Film Festival 2025: Omaha Movie Review
