Willy Wonka meets Get Out in A24's latest Opus, a film that sees Ayo Edebiri attempt to survive a cult led by a sequin wearing John Malkovich.
Opus Review
Ever since I watched The Twilight Zone with my grandmother, I have been familiar with the idea of thrillers with a big twist. Movies like SE7EN, The Sixth Sense, and Saw are great examples of how the genre can pull this off successfully. These twists either subvert everything you thought you knew about the story or it deepens what you've witnessed, either way you're left with a desire to go back and watch with open eyes. Other thrillers choose to tackle lofty ideas such as religion or the cult of celebrity. Then there is A24’s latest from writer-director Mark Anthony Green, which aims to deliver a massive twist while also speaking on religion, selfishness, cult mentality, and to some lesser degree revenge. It's ambitious to say the least and proves to be juggling too much to stick the landing. Still, there may be enough of a thrill there to draw in a crowd looking for a new horror-comedy.
Opus is Willy Wonka meets Get Out (or last year's Blink Twice). A story constructed around an eccentric rich man who lures unsuspecting peons to his lavish compound to wine, dine, and murder them if need be. It's a film that keeps its cards close to the chest until the very end. Although effective at first, it would have been more impactful if a quick peak behind the curtain of motives happened sooner. However, Ayo Edebiri is fantastic, adding new era final girl energy to the mix, and despite the unevenness of the reveal her performance keeps you watching throughout the hour and 40 minute runtime.
When mega-popstar, Alfred Moretti (John Malkovich), reappears in the public eye promising a new album after 30 years in the shadows, everyone is eager to know more. Like the chocolatier Willy Wonka, Moretti only allows a select group of guests to attend a weekend at his compound where they will be the first to hear “Caesar's Request.” There is rock star rival Bill (Mark Sivertsen), paparazzo (Melissa Chambers), tv maven Clara (Juliette Lewis), and editor of a music magazine Stan (Murray Bartlett). But just like the chocolate factory tour, there is one more invite, someone who is just lucky to be included– journalist Ariel Ecton (Edebiri), one of Stan's underlings. Ariel is the first to realize this weekend getaway is more than what it seems.
There is a lot for Ariel to uncover at the desert compound. Alfred is eccentric but the people around him, the “Levelists” are almost zombie-like in how brainwashed they seem, hanging on his every word. Everyone who was invited has been given their own rooms, complete with surveillance equipment and a personal Levelist aide. No one knows why the aides are there or more importantly why they shadow your every movement. More Levelists pop in and out as they please, providing a change of clothes here, makeup tips there. That may not seem all that unhinged but when one of those visits includes shaving your bathing suit area you begin to wonder what exactly is happening. The best thrillers/slashers give you a little something to go off of even if they pull the carpet out from under you later. And that's the biggest issue with Opus. The answers eventually come but very late into the game which won't go over well for some.
Opus mostly operates as a dark comedy with some sinister undertones mixed in for good measure. Such as Amber Midthunder's role as Ariel's Levelist aide. She is intense as well as hilarious. She keeps a close eye on her charge. It's just a shame she wasn't given more to do because Midthunder is always a force in whatever role she is in. Malkovich is almost cartoonishly evil which makes a lot of his earlier moments laughable albeit cringy. No one wants to see an old man pelvic thrusting around a room. Edebiri equally shows off her comedic timing before the horrors ensue in full force. But it shifts away from the comedy tonally to end its story with one mad dash race to the finish. All the themes laid out from the beginning are wrangled together in an extended epilogue as Green attempts to explain the twist. Some of it works, others not so much.
Despite the supporting cast not getting much to do with their roles, everyone is committed regardless. Tony Hale is a highlight as Moretti's manager but has even less time than Midthunder to really shine. Still he makes an impression as the hippie looking, sleaze ball. Even though the script ultimately disregards these characters and their motives, Edebiri and Malkovich are given plenty to work with and they handle whatever is thrown their way with ease.
Without meaning this like an insult, Malkovich strikes me as the type of actor who is meant to take on weird, bizarre roles, which makes him the perfect fit to play Moretti. This is a man who is both humorous and seemingly docile on one hand but oozes with cruelty on the other. The fact that Malkovich is no stranger to villains makes it impressive that he could find something new to bring to this character. He even sings the film's original songs written by Nile Rodgers and The-Dream, with all the ego of a real pop star. Edebiri meanwhile brings fresh energy to the final girl trope, remaining who she is from start to finish. Ariel has an innate sense of determination and strength but is also able to understand her weaknesses. She is the reason I stayed interested in the film even when the twist came far too late. In my opinion, Edebiri should be given more opportunities to shine.
Verdict
Opus plays out as if Willy Wonka and Get Out had a love child. It's a dark comedy that also wants to be a slasher as it navigates a world of cult celebrity, ambition, and shamelessness. Green has some good ideas here and this is one of those films where a second viewing will likely sit better than the first. However, you have to convince the audience they want to have another round with it. Despite the frustrations I felt with the timing of the twist, Edebiri and Malkovich deliver strong performances that at the very least keep you entertained. Who knows? It may find a home as a cult favorite down the road.
Opus is in theaters March 14. It is rated R for violent content including a grisly image, language, sexual material and brief graphic nudity with a runtime of 103 minutes.
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