In the hours after my viewing of Opus, I was finally able to categorize what the movie reminded me of. The three winners were Charlie and the Chocolate Factory, The Rocky Horror Picture Show, and a four-part podcast series on Jonestown I recently listened to. I regret to report that my attempts to categorize the film were the result of me wondering, “What did I just watch?” (in the derogatory sense).
Like Charlie and The Chocolate Factory and Rocky Horror, the film features an overzealous main character living in a mysterious world beckoning you to lift the veil. In Opus’ case, this character is Alfred Moretti (John Malkovich), a singer characterized by his eccentricity and bravado, which has elevated him to be known as “the biggest pop star.” However, unlike a Frank-N-Furter or Willy Wonka, he is ultimately quite forgettable.
Moretti, known as the “Wizard of Wiggle”, mysteriously vanished from the mainstream 30 years ago. Then writer Ariel Ecton (Ayo Edebiri) and her newsroom colleagues hear a rumor that Moretti will be releasing a new album.
The speculation is confirmed when Moretti’s publicist posts a video online. Ariel, an early-career journalist, is invited to Moretti’s exclusive listening party along with her boss Stan Sullivan (Murray Bartlett), TV personality Clara Armstrong (Juliette Lewis), an influencer named Emily Katz (Stephanie Suganami), paparazzo Bianca Tyson (Melissa Chambers), and radio host Bill Lotto (Mark Sivertsen).
The proclaimed VIPs travel to Moretti’s compound, whose secluded gates are lined with fans anticipating Moretti’s return. On the ride there, Ariel finds out that Bill and Moretti hate each other, and the others are surprised he is attending.
Upon arrival, the participants are asked to turn in their phones to maintain the “integrity” of the event and are subsequently greeted by apparent cult members called “Levelists.” Stan informs Ariel that she is to observe and take notes which he will use when writing the piece for their magazine.
Moretti makes his first appearance at a group dinner, where everyone is captivated and enamored with him. Almost everyone, anyway. Ariel is instantly suspicious. Stan gets a seat at Moretti’s table, Ariel is invited to sit with the Levelists. Her interviews with them are not enlightening.
The VIPs learn that they have 24-hour concierges in the form of other Levelists. They return to their rooms for the night, where they listen to one of Moretti’s newest releases. Then, things take a dark turn. Bill’s massage appointment turns into a murder by the Levelists.
Ariel wakes the next morning and is surprised her concierge Belle spent the entire night at her door. Belle even opts to join Ariel on her morning jog, which concludes with a conversation with Moretti on the cult’s beliefs. To further expand on their ideology, Moretti takes Ariel to a tent where a Levelist is shucking oysters for pearls, which they use to make necklaces. Later, Ariel’s shower is love-bombed by a team of Levelists there to give her a makeover. Ariel tries to learn more about the individuals, but her questions are brushed off. Her skepticism and shock are intensified as a Levelist shaves her pubic hair before joining the others for a performance from Moretti.
When Moretti performs a song for the VIPs, his performance intentionally singles each one of them out to make them feel “special.” Emily then starts coughing uncontrollably and is taken away. This, coupled with Bill’s disappearance, causes Ariel to raise questions, which are ignored. Her fears are further confirmed when she sneaks away from her concierge and finds a barn with dead animals — and, unbeknownst to her, Bill’s headless body. But Ariel has seen enough. It’s time to leave.
The rest of the film is rather anticlimactic, which is disappointing. The filmmakers seem to have forgotten that a thriller needs to be thrilling. Opus seems like the end result of a bunch of ideas that were never fleshed out — especially when it comes to the character of Moretti. It’s noted by the Levelists and other people in the film that he’s a big deal, but we don’t really see it for ourselves. Even films like Mean Girls do a better job of showing why being deemed special by these leader types can evoke a devoted following.
I really wanted to like the film; as an Edebiri fan, I was eager to see a Black woman at the center of a thriller. But even the plot twists seemed “meh.” Here’s hoping that this review doesn’t make me Moretti’s next target!
Opus
Now playing
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