‘Opus’ spotlights the cult of celebrity by saying too much and not enough

The cult of celebrity can be a powerful force. The glamorous lure of the rich and famous can compel a die-hard fan to spend thousands on concert tickets or wait in line for hours to buy celebrity-branded makeup and alcohol. The halo of notoriety could even convince the average person to join a literal cult like NXIVM if membership promises the proximity of celebrity with sprinkles of self-actualization.

The relationship between celebrity, the individual and society is explored in former GQ writer and Morehouse alum Mark Anthony Green’s ambitious yet unwieldy satire and directorial debut, “Opus.”

“Opus” stars Boston darling and Dorchester native Ayo Edebiri (“The Bear”). The Emmy-winning actress plays Ariel Ecton, an up-and-coming writer at an entertainment magazine who can’t seem to catch her big break. Surprisingly, Ariel is invited to the isolated New Mexican compound of former ‘90s pop star, Alfred Moretti (John Malkovich), whom no one has heard from in 30 years. Moretti is a fictional amalgamation of Prince, David Bowie and Elton John and he’s back with his first album in decades.

Dorchester native Ayo Edebiri stars as Ariel Ecton in “Opus.” PHOTO: ANNA KOORIS

Ariel is joined by her boss, Stan, and other veteran journalists who double as critics and sycophants. Clara (Juliette Lewis), a television celebrity journalist; Bianca Tyson (Melissa Chambers), a paparazzo; Bill Lotto (Mark Sivertsen), a podcaster; and a Tik Tok influencer, Emily Katz (Stephanie Suganami).

This group of “journalists” represent the most common forms of media consumed by individuals who both revere and revile celebrity. It is this whiplash of revelry and criticism that create the foundational tension in the film. Why are these journalists chosen to attend Moretti’s first comeback listening session at his cultish commune?

Members of the commune are men, women and children from all racial backgrounds and socioeconomic levels who walk around the compound clad in blue with eerie smiles. They are known as The Levelists, devotees of a Moretti-made religion.

Despite the tension between the guests and Moretti and his devoted followers, it’s hard to be completely invested. It feels like this story has been told before. Green has the unfortunate luck of writing and directing this film at the tail end of an influx of satirical social horror films like “Get Out,” “Midsommar,” “The Menu” and “Blink Twice.”

(from left) Ayo Edebiri, Juliette Lewis, Murray Bartlett, Melissa Chambers, Stephanie Suganami in “Opus.” PHOTO: Courtesy of A24

A silver lining in this film is Edebiri’s and Malkovich’s performances. Edebiri is the charming and rather “mid” last girl whose age and relative greenness give her a healthy dose of skepticism during her strange weekend with Moretti and The Levelists. Malkovich is having too much fun hip thrusting on screen while clad in bedazzled capes and chunky-heeled boots as he gropes his castmates and crawls on the floor to the applause of his Levelist sycophants.  It is unclear if Malkovich’s portrayal of Moretti is supposed to be unintentionally funny and “cringe,” but it is. In a strange way it works, but mostly thanks to the cult of Malkovich – not Moretti.

It is alarming and slightly unbelievable that the other veteran journalists willingly turn a blind eye to the unsettling people, habits and blurred sexual boundaries at the compound. For a group of journalists, they sure are the least curious people around.

Green’s script tries hard to explore the many issues surrounding celebrity culture in today’s society. After all, the current leader of the free world is a former reality show host and famous millionaire. A large sector of society is oversaturated with parasocial relationships, which Green knows all too well given his past contributions as a celebrity profiler. While it is clear he has extensive knowledge about the dark side of the cult of celebrity from his particular vantage point, his points aren’t clear. He tries to say too much in too short of a time and doesn’t say much at all.

Green is a promising voice in film and certainly has a lot to say. However, he should have left some things on the cutting room floor to save them for his next opus. 

“Opus” opened in theaters nationwide on March 14.