Opus
“There’s an opportunity here to explore the specific struggles of Black women, but Opus doesn’t take the bait.”
Title: Opus (2025)
Director: Mark Anthony Green 👨🏾🇺🇸
Writer: Mark Anthony Green 👨🏾🇺🇸
Reviewed by Joshua Harris 🧑🏽🇺🇸🌈
Technical: 2/5
A wealthy, eccentric character summons a group of people to an event. But what starts as an intriguing, almost magical experience quickly unravels into something darker. We’ve seen this plot before—whether in Glass Onion (2023), Midsommar (2019), or Blink Twice (2024)—and while the archetype itself isn’t stale, A24’s Opus doesn’t bring anything new to the table.
The film follows Ariel (Ayo Edebiri), a journalist invited to the remote estate of reclusive 1990s pop star Alfred Moretti (John Malkovich), who offers a glamorous peek into his enigmatic world.
In his feature debut, writer-director Mark Anthony Green does a good job of building tension, particularly through Ariel’s increasing concern as things get weird at the compound. Edebiri is the standout, injecting a warmth and charm into Ariel that elevates moments that would have otherwise fallen flat. The pop soundtrack, with interesting and creative original songs, makes up one of the film’s stronger points, but doesn’t rise above conventions. And the writing just isn’t there. The twists come, but they feel forced, like cheap shocks rather than integral plot developments. By the end, the movie spends two hours hinting at crucial themes like identity, exploitation, and the abuse of power in celebrity culture, without ever diving under the surface.
Gender: 2.5/5
Does it pass the Bechdel Test? YES, but barely
Despite being the lead, Ariel is extremely underwritten. Her motivations are defined almost exclusively by her role as a journalist trying to uncover Moretti’s secrets, and the film chooses not to explore her personal life. Edebiri’s performance holds the character together—her charm and natural presence make Ariel likeable, even when the script fails her. But any depth remains elusive. The other women in the film are similarly thin, existing almost entirely in relation to Moretti. They have no story arcs or independent desires, turning them into mere plot devices.
Race: 3/5
While Opus could have examined whiteness in celebrity culture—particularly how wealth and notoriety shield white men like Moretti from scrutiny—it doesn’t. This feels like a miss, especially considering that the film centers on a Black woman, Ariel, who is constantly underappreciated and not believed. There’s an opportunity here to explore the specific struggles of Black women to be heard in public arenas, or to show how race influences power dynamics, but Green doesn’t take the bait.
Mediaversity Grade: D 2.50/5
Ultimately, Opus is just another entry in the saturated genre of psychological thrillers—one that doesn’t do anything particularly new or interesting with its formula. The pacing works in its favor, building tension in a way that keeps the viewer invested, but when the dust settles, there’s nothing substantial to reflect on.
Like Opus? Try these other titles that play psychological games.
The Substance (2024)
Glass Onion: A Knives Out Mystery (2022)
Triangle of Sadness (2022)