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Sundance: In ‘Opus,’ John Malkovich plays a pop star in a sloppy slasher that spills blood and ink

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At this year’s Sundance, A24’s “Opus,” a bloody slasher film, is causing quite a stir. This action-packed comedy, directed by Mark Anthony Green, who once worked at GQ, initially came to life while he was writing about artists like The Weeknd and Kid Cudi. “Opus” can be seen as a critique of the insincere bond between media and talent. While it boasts a stylish appearance and some intriguing concepts, in the end, it mirrors the shallow nature of the fluffy articles it’s criticizing.

The story unfolds around a secluded rural estate in the ’90s, where the elusive pop sensation Moretti (John Malkovich) has extended an exclusive and ultimately violent invitation to six journalists for a listening party of his long-awaited first album in 27 years. Among the invited guests is budding writer Ariel (Ayo Edebiri), who shares similar aspirations as the ambitious young chef from “The Bear”. Despite her lowly position on the entertainment magazine’s staff, Ariel dreams that reporting about notable figures will reflect some of their fame onto her own career. Even her semi-boyfriend (Young Mazino) finds her uninteresting.

Ariel, like the other guests, has been invited with a lavish gift-basket. These individuals include her editor (Murray Bartlett), a TV personality (Juliette Lewis), an experienced paparazzi (Melissa Chambers), a rumor monger (Mark Sivertsen), and an influencer (Stephanie Suganami). However, she finds herself in an unequal position; her superior intends to take sole credit for the work. At the initial group dinner, she finds herself seated at the outskirts of the grand dining hall among several followers of Moretti, anticipating that the main table will offer a single roll of bread for all to share. This situation symbolizes her expected fate: receiving only crumbs.

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Once again, we’ve returned to Main Street, capturing the influential figures behind the scenes – actors, scriptwriters, and directors – who are driving the cultural dialogue. Don’t miss our stunning collection of photographs from our Sundance Portrait Gallery.

In the year that Ariel was born, Moretti withdrew from public visibility. This could be the reason why she’s the only character in the entire film unaffected by his celebrity status. Furthermore, she’s the sole outsider who worries about Moretti’s followers establishing a religion centered around creativity worship. The adherents of this faith, known as Levelists, don blue uniforms and gather pearls; they can be metaphorically compared to the band Blue Oyster Cult. However, Moretti appears somewhat amused by Ariel’s concerns, glancing over her notes and commenting playfully, “Don’t you think sycophant has an ‘o’?

As a die-hard fan, I can’t help but express my admiration for Moretti! The movie begins with a pair of delightful montages showcasing his international fanbase, a diverse group that mirrors the contents of a messy junk drawer. From headbangers to hipsters, spanning various languages and age groups, it seems like every corner of Earth is captivated by his music, and so am I from the very first resonating thuds that set the stage for his rhythmic, dance-inducing beats.

Green wisely handed over three of Moretti’s tracks for the soundtrack to renowned musicians Nile Rodgers (known for “Like a Virgin” and “Let’s Dance”) and the-Dream (responsible for “Umbrella” and “Single Ladies”). Each tune is sung by Malkovich himself, and each one packs a powerful punch as an absolute hit.

In simpler terms, John Malkovich infuses the character with self-assuredness and sex appeal, much like a modernized version of his captivating Vicomte de Valmont from “Dangerous Liaisons” in a disco setting. He makes us believe that even after many years away, the movements of Moretti remain captivating. Malkovich exudes 80% charisma and 20% flamboyance, drawing inspiration from small-time dictators and Elton John for his style. The talented Shirley Kurata designs his costumes. Moretti seems to have a large ego, as suggested by his license plate CLAP4ME, but his vanity is more noticeable. He demands his own powdering before an appearance and requires journalists to undergo makeovers. One of the assistants (Tamera Tomakili) insists that all visitors must shave their private areas. This scene is comical, but it’s not clear if he’s a germaphobe or a control freak. Is he genuinely concerned about hygiene or is he simply exposing their submissiveness?

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As a movie buff, I recently had a chat with the creators of “The Stringer” and an legal representative for the renowned AP photographer, Nick Ut. They shared insights on the movie’s assertion that Ut didn’t capture the iconic “Napalm Girl” photograph.

The director offers authentic and convincing perspectives on the challenging waltz between a prominent figure and a reporter, where the star craves praise while the writer seeks entry. This dance often involves the journalist being showered with accolades as they dodge tough questions, forgetting their true purpose. For much of the film, both parties politely exchange pleasantries without revealing their true feelings. It isn’t until Moretti satirically addresses his disliked questions – both rude and superficial ones – that the facade begins to crack. The implication could be that poor journalism forced a genius into seclusion. However, it’s challenging to emphasize this theme when none of Ariel’s colleagues question Moretti about anything; they merely sip his wine until their punishment starts.

A cunning, morally ambiguous figure, Moretti is unveiled as the enigmatic mastermind of the music industry, reminiscent of Willy Wonka, surrounded by a secretive group of loyal followers who seem to be executing his retribution. The film could be described as “Willy Wonka and the Critics’ Conundrum.” However, the script fails to delve into the specific transgressions of the journalists, instead painting them as a collective wrongdoer, resulting in a rather hazy portrayal of vengeance.

As a movie enthusiast, I must say that the narrative takes an uneven course once the gruesome beheadings start unfolding. However, the film commences powerfully, boasting stunning cinematography by Tommy Maddox-Upshaw, noticeably a prolonged shot that initiates from a tour bus and ascends into the sky. Editor Ernie Gilbert demonstrates a fine sense of pacing in determining how long to keep each frame, allowing us to soak up the dynamic atmosphere on Moretti’s compound – an intriguing blend of stern and whimsical settings, with the backdrop adorned by painters, sculptors, archers, and practitioners of tai chi.

Oh, it seems Green’s intentions are as elusive as Moretti’s – he prefers to express things indirectly instead of stating them outright. Green appears to view the entire media apparatus as a farce. However, he conceals his main points so deeply within the script that he barely has time at the end to wrap things up neatly. At one instance, we notice a close-up of all the questions in Ariel’s notebook. Few are asked, even fewer answered. Perhaps his next movie will delve deeper into revealing truths.

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2025-01-29 00:01

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