{"id":1530,"date":"2025-04-14T22:56:36","date_gmt":"2025-04-14T20:56:36","guid":{"rendered":"https:\/\/cineairo.com\/?p=1530"},"modified":"2025-04-14T22:56:37","modified_gmt":"2025-04-14T20:56:37","slug":"opus-a-lesser-known-cousin-in-a-cult-family","status":"publish","type":"post","link":"https:\/\/cineairo.com\/index.php\/2025\/04\/14\/opus-a-lesser-known-cousin-in-a-cult-family\/","title":{"rendered":"Opus\u2014a lesser-known cousin in a cult family!\u00a0"},"content":{"rendered":"\n
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What happens when the lines between genius and madness blur? When does admiration curdle into obsession? Opus<\/em>, the latest psychological horror-thriller from A24, dives into a world of mystery, music, and manipulation\u2014where the price of witnessing greatness might just be your soul.<\/p>\n\n\n\n

Ariel Ecton (Ayo Edebiri), a sharp-witted music journalist hungry for the next big story, receives an invitation to an exclusive listening event hosted by none other than Alfred Moretti (John Malkovich), a legendary pop icon who vanished from the public eye decades ago. His long-awaited album promises to be a masterpiece, a culmination of years in seclusion. But as Ariel steps into Moretti\u2019s sprawling desert compound, she quickly realizes that this is no ordinary event.<\/p>\n\n\n\n

At its core, Opus<\/em> attempts to dissect the fine line between admiration and indoctrination, asking, when does fandom evolve into blind worship? The premise is gripping, and the opening sequence delivered a captivating introduction\u2014but while the setup brims with potential for psychological terror, the execution wobbles under the weight of a screenplay that never quite figures out what it wants to say. The themes of fame, artistry, and devotion feel undercooked, as if the film is afraid to push them into truly unsettling territory.<\/p>\n\n\n\n

For the first two-thirds, Opus<\/em> holds its audience with an unsettling, slow-burning tension. The cinematography is deliberate, with eerie bird\u2019s-eye shots and claustrophobic frames that heighten the sense of unease. The production design is immaculate, creating an environment that feels both alluring and suffocating, perfectly mirroring the psychological manipulation at play. But then comes the third act\u2014a spectacular collapse of momentum and coherence.<\/p>\n\n\n\n

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What should have been a crescendo of horror feels incomplete and rushed. Elements that seem significant\u2014such as the oysters and the dolls resembling guests\u2014are left dangling with no real payoff. The film hints at deeper meaning but refuses to commit, leaving audiences with questions, not intrigue.<\/p>\n\n\n\n

\u00a0Director Mark Anthony Green aims to tap into the increasingly popular cult-horror trend, but rather than innovating, the film recycles familiar beats without offering anything fresh. In his directorial debut, he shows flashes of vision, but the film often feels like it wants to be something greater than it actually is. Opus has all the ingredients of a psychological horror masterpiece, but the final product is a dish that wasn\u2019t fully cooked, more like a lesser-known cousin to Midsommar and The Menu trying too hard to impress at the family dinner.<\/p>\n\n\n\n

If there\u2019s one reason to sit through Opus<\/em>, it\u2019s Ayo Edebiri. She carries the film with effortless charisma, navigating Ariel\u2019s descent from intrigued journalist to desperate survivor with precision. Every scene she\u2019s in is heightened by her presence, making the weaker elements of the film at least somewhat tolerable.<\/p>\n\n\n\n

John Malkovich, however, is another story. Given his recent streak of questionable roles, his casting as Moretti wasn\u2019t exactly a vote of confidence. While his performance isn\u2019t outright terrible, it leans too heavily on his usual eccentricities, making Moretti feel more like a caricature than a truly unsettling figure.<\/p>\n\n\n\n

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When you see A24 attached to a film, there\u2019s an expectation of something unique\u2014a level of cinematic ambition that dares to challenge convention. And while Opus<\/em> wears the A24 aesthetic, it lacks the substance that defines their best work. Instead, it feels like one of their more commercially driven releases, relying on style over narrative depth.<\/p>\n\n\n\n

Opus<\/em> isn\u2019t an outright disaster, but it exists in that strange purgatory between \u201cbad\u201d and \u201cjust okay.\u201d It fails as a horror movie, its mystery isn\u2019t all that mysterious, and its ending leaves more frustration than fascination.<\/p>\n\n\n\n

Would I recommend seeing it in theaters? Absolutely not. Save your money. This is the kind of film that might work as a late-night background watch, but not something you should invest in expecting a profound or chilling experience.<\/p>\n\n\n\n

Rating: \u2605\u2605\u2605\u2605\u2605\u2606\u2606\u2606\u2606\u2606 (5\/10)<\/p>\n\n\n\n