“Opus” follows a young writer who travels to the remote compound of a legendary pop star who mysteriously disappeared 30 years ago.

A Fresh Musical Start

“Opus” is interesting in that it has no sense of horror at all in its early stages. By focusing on music, the flick had the opportunity to do something unique within the horror genre. Instead, it converges into a generic plotline that has been done better many times before. Think “Midsommar” (and countless other cult-based movies) but more mainstream.

With this mainstream approach comes much less creativity. There is a place for movies about cults, but why divert away from a far more interesting central premise? The music that was so prominent in the beginning eventually feels more like a skin to cover up what “Opus” actually is.

Standout Performances Keep it Alive

Ayo Edebiri excels in the lead role. While she doesn’t showcase an extreme range here, she plays the out-of-place, confused character well. She also adds a confident and down-to-earth charm that makes her more likable. 

John Malkovich delivers as well, playing a bizarre, enigmatic character. He provides much of the film’s comedy and keeps things entertaining even when the plot grows stale.

Embracing Horror Tropes with a Twist

When all the cards are on the table, “Opus” becomes a much more thrilling and engaging flick. Rather than shying away from its tropes, the movie fully embraces them in the final act. This leads to several gore-filled, thrilling moments that I didn’t see coming.

“Opus” provides an untraditional ending, and I actually appreciated it. The film risks losing the audience’s attention with a less thrilling approach, but the result surprisingly works.

“Opus” isn’t a bad movie, but it wastes its potential with a by-the-numbers story. The performances from Edebiri and Malkovich steal the show, and the final minutes take surprising turns. Still, by the time the credits rolled, I wanted more.

Rating: 2.5 out of 5