If “Opus” had been published a decade ago, it could be easier to praise it for its originality and depth when it comes to building up a discussion about celebrity. . Unfortunately, it will be published at the end of a wave of thrilders that all follow the basic structure: eccentric wealthy person and/or celebrity invites some to join them in a remote place, whereupon their clever and murderous secret plans are enacted. “Glass onion”, “blink twice”, a little “Midsommar” and especially “The menu” Are all the latest examples that “Opus” remembered somewhat arbitrarily and the comparisons do not do many favors. Sure to be part of a trend or a subgenre in the cinema does not automatically disqualify a film – there is enough space for “Armageddon” and “Deep Impact”, in other words – but the problem is that “Opus” is too close to its cards holds the chest too long and the spectators loses before she has a legitimate convincing turn on it.
“Opus” leads a fictional mega pop star, Alfred Moretti (John Malkovich), who had a massive effect on the industry and culture 30 years earlier before it was steadfastly disappeared from the public eye. Suddenly he is back with a big new album with the title “Caesar’s request” and in very Agatha Christie -fashion he invited only a few people in Utah, where his site lives, to come to the middle of nowhere and the album first listen . These not so far-reaching guests are a paparazzo, Bianca (Melissa Chambers), a former rock star rival by Alfred’s, Bill (Mark Sivertsen), a social media influencer, Emily (Stephanie Suganami), a TV personality, Clara (Juliette Lewis) and the editor of a music publication, Stan (Murray Bartlett). In the very “Willy Wonka” style, however, Alfred also invites one of Stan’s employees, the young and ambitious (but still unknown) journalists Ariel Ecton (Ayo Edebiri), to one of Stan’s employees. Your invitation is something that everyone accepts as an act of charity of the star, especially Stan, who insists that he will be the only one who writes the last pieces of her time in Alfred’s Compound.
Sure enough, Ariel, who begins, the secrets around Alfred, his new album, his relationship with a cult organization called The Levelists, and why every invitation monitors intensively and shaded by a levelist adjutant. After all, things become dangerous and violent, but the big problem is that it is still unclear why. These answers come, but it will be too late for some, and I cannot accuse them – Slasher films work best when some missions and rules are determined, even if they are changed later and “opus” is too long too long too long .
