Ariel Ecton (Ayo Edebiri), the keen and ambitious journalist at the center of Mark Anthony Green’s sluggish feature debut Opus, is desperate for a big break. Like many young people in magazines, she gets passed over for consequential features and splashy profiles, even when the ideas come from her. So when Ariel receives an auspicious invitation from the legendary musician Alfred Moretti (John Malkovich) to preview his new album at a remote compound in Utah, she immediately accepts. The pop star, a David Bowie variant, hasn’t released music in 30 years, and covering his return is the opportunity of a lifetime.
A steady procession of relatively mediocre black comedies have primed us for Opus. Triangle of Sadness parodied the wealthy class and their out-of-touch behaviors; The Menu gorged on monstrous culinary world personalities and the sycophants who feed them; and most recently, Blink Twice confronted the protective bubbles shielding powerful men from accountability.
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