“Celebrity” means more than social status. It’s an allure, the gateway into the hearts of an audience whose parasocial attachment allows them to be controlled. Furthermore, what if a celebrity wielded that control for nefarious purposes? That’s what Opus, the feature debut of writer-director Mark Anthony Green, wants to explore. Starring Ayo Edebiri (The Bear, Bottoms) and acting veteran John Malkovich (Being John Malkovich, Burn After Reading), Opus has the familiar bones of other horror films set in a remote location with the elite class. However, Green adds a fresh flavor to the subgenre with a mean streak and a deceptively smart script. This makes Opus polarizing yet all the more rewarding for those willing to become a devoted follower.
Ariel Ecton (Ayo Edebiri) is a writer at an entertainment publication who struggles for the chance to shine under her stubborn boss Stan (Murray Bartlett). Ariel finally gets her shot when the iconic and extremely influential pop star Alfred Morretti (John Malkovich), who has been in seclusion for 30 years, invites her, Stan, and other famous journalists to his private compound to be among the first to hear his first new album in decades. Once arriving, Ariel realizes that something is very off. Morretti is surrounded by sycophants who appear to be in some strange cult. Whether this is eccentricity or something more sinister becomes apparent as Morretti slowly pulls the curtain back on his unusual world.
Opus gets off to a shaky start. Though beautifully photographed by cinematographer Tommy Maddox-Upshaw (2023’s White Men Can’t Jump remake), director Mark Anthony Green’s slow-burn introduction to the cult of personality around Alfred Morretti hits the same beats as social satire thrillers like The Menu (2022) and Blink Twice (2024). The comedy in the third act is too understated to really land, and what’s supposed to feel like an unnerving build-up kind of feels like just going through the motions. Amber Midthunder (Prey), at the very least, keeps a threatening, if underused, presence as a member of Morretti’s staff tasked with keeping tabs on Ariel.
Another saving grace is the original music written by prolific producers/musicians Nile Rodgers and The-Dream, performed by John Malkovich himself. It’s hard to make fictional music that sounds authentic. The film’s 3 original songs, however, are esoteric disco bangers that help build the intoxicating aura around Alfred Morretti. Opus hits a major gear shift when Morretti is introduced. Malkovich hasn’t gotten a true chew-the-scenery extravaganza like this in a while. Borrowing elements from real-life legends like Prince, David Bowie, and Michael Jackson, Morretti is soft-spoken, eccentric, and positively magnetizing. It’s hard not to fall under his dark spell as he regales with a long story that seems to go nowhere before bam, it’s a long-winded set-up for a punchline.
Alfred Morretti’s music and performance art is as ridiculous as it is genuinely intriguing. John Malkovich’s cold yet bewitching line delivery draws out consistent nervous laughter. He is the best part of Opus as the viewer starts to wonder if maybe he himself is a genius, and we’re witnessing a master at work. In that way, Mark Anthony Green complicitly engages his audience in celebrity worship. We make concessions for those we laud as prodigies, free-thinkers, or game-changing artists shifting the culture. Opus rubs our nose in it, as we, as viewers, don’t actually want to see Morretti get taken down; we want to see just how wild his world is.
Ayo Edebiri is, predictably, fantastic as someone who sees through the sparkle of Alfred Morretti, at least more than others. She’s a hypercompetent protagonist who is remarkably efficient at getting to the bottom of the situation happening in Morretti’s expansive private compound. This is where we are introduced to the “Levellists,” a cult of sorts that worship Morretti as their leader. Vaguely resembling Scientology, the Levellists harbor strange beliefs, which include revering rare oyster pearls as symbols of originality. More importantly, they harbor an unhealthy obsession with their talented muse, Mr. Morretti. This aspect plays into how truly awestruck fans of celebrities are and how they will completely give up their own personhood to prove their total devotion.
In our current world, fandom is an ongoing topic of discussion where the increasingly toxic tactics used to defend any given favorite celebrity ultimately create an impenetrable wall around the star, letting them have an unprecedented amount of control. Opus brings this to a head in a third act that dives headfirst into horror. In a single moment, the full weight of Alfred Morretti’s mental state, secret intentions, and level of control are revealed. Without giving anything away, it’s uncomfortable and surprisingly cruel, leaving jaws on the floor.
In the wake of horror comedies or social thrillers with similar concepts that don’t go far enough, Opus hits the gas. It all happens so fast that it’s hard even to process the depravity that’s just occurred. Then, Opus pulls out one final trick: an epilogue that states the central thesis of the film loud and clear: once a celebrity gains a slavish following, there’s nothing anyone can do to stop their power. By its divisive design, though, this narrative structure isn’t going to work for everyone. The screenplay verges on being didactic, where the theme is more important than anything else, making every part of the movie directly serve the message.
But when that message is conveyed in such an off-kilter way, supplemented by a killer John Malkovich performance that is equal parts devilish as it is hilarious, it’s hard not to have at least a bit of respect for what Opus is shooting for. With the support of beloved indie distributor A24, filmmaker Mark Anthony Green steps onto the scene with an uncompromising voice, ready to take big swings. Where celebrity discourse permeates so much of our culture, it’s refreshing to see a horror movie with such a distinct, and even unpopular, take.
Opus premiered at the 2025 Sundance Film Festival and will be released in theaters on March 14!
Release Date: March 14, 2025.
Directed by Mark Anthony Green.
Written by Mark Anthony Green.
Produced by Mark Anthony Green, Collin Creighton, Brad Weston, Poppy Hanks, Jelani Johnson, & Josh Bachove.
Executive Producers: Charles D. King, Nile Rogers, The-Dream, & Sara Newkirk Simon.
Main Cast: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder, Stephanie Suganami, Young Mazino, Tatanka Means, Tony Hale, Melissa Chambers, Tamera Tomakili, Aimee McGuire, Chris Highlands, & Justin Perry.
Cinematographer: Tommy Maddox-Upshaw.
Composers: Danny Bensi & Saunder Jurriaans.
Production Companies: Makeready & Macro Film Studios.
Distributor: A24.
Runtime: 103 minutes.
Rated R.
