オーパス
監督:Mark Anthony GreenA journalist (Ayo Edebiri) is invited to the remote compound of a legendary pop star (John Malkovich) who mysteriously disappeared 30 years ago. Surrounded by the star's cult of sycophants, she gets caught in the middle of his twisted plan.
オーパスの評価とレビュー
- ⋅˚₊‧ EVE ⋆* ‧2026年3月22日maybe im stupid
- Monkey See! Monkey Review!!2025年9月13日I went into Opus with no expectations, other than the quiet excitement that comes with seeing the A24 logo. The studio has a reputation for delivering bold, genre-defying films, and I was curious to see what this one had in store. TLDR -> Stylish, Mysterious, and Just Shy of Greatness What I didn’t anticipate was its deep dive into occult themes—a choice that immediately added a layer of intrigue and unease. As with many films that explore the occult, Opus builds a sense of mystery that pulls you in, tempting you to uncover the truth behind its eerie setting and cryptic characters. The cinematography and production design are exactly what you’d expect from A24: polished, atmospheric, and visually compelling. But while the film piqued my curiosity, it ultimately felt incomplete. The story, though presented with style, lacked the narrative scaffolding to fully support its themes. The motivations behind the cult-like group at the center of the film were never clearly explored, leaving key actions unjustified and emotionally hollow. There were moments that hinted at deeper meaning, but they never quite materialized into a cohesive whole. Films like The Sound of My Voice manage to leave gaps for the viewer’s imagination while still delivering a satisfying arc. Opus, by contrast, felt like it skipped over essential pieces that could have elevated it from intriguing to unforgettable. I stayed with it until the end, hoping for clarity or payoff, but was left wondering if a second viewing might reveal what I missed—or simply confirm my initial impression. Is it worth watching? Maybe. If you’re drawn to atmospheric thrillers with occult undertones and don’t mind a few narrative loose ends, Opus might be your kind of film. But if you’re looking for a fully realized story with emotional depth and thematic clarity, this one may leave you wanting more.
- LivewireAdmin2026年2月3日From what I heard, "Caesar's Request" is a masterpiece. Contender for best title card of 2025.
- ichir02025年10月1日This is gonna be one of those ones that people are gonna sleep on. It's also one that someone should watch without a synopsis. That's how I saw it and I thoroughly enjoyed it. I hope others can enjoy it as well.
- handban22025年4月11日This movie makes a lot more sense when you realize it's inspired by Creed Braton from the office...
- Scott2025年5月10日Even the Princess of Ireland couldn't save this movie that was couldn't decide on whether it wanted to be a thoughtful commentary on celebrity or a cult slasher. It doesn't hit the mark on either and I ended up thinking about Midsommar through most of it.
- russrev1ews2025年8月23日I’m not sure why this movie got so much hate. It was interesting, beautifully shot, and had some spectacular set design. Ayo held her own like a champ, and though the climax (like the schedule) was rushed, the film had a very satisfying coda. My only complaint was John Malcovich was mis-cast, and I think someone a that captured a little more of the 80s Michael Jackson-aura might’ve worked better – I couldn’t buy the sell of him being a global superstar. Besides that, this is an entertaining and fun thriller that doesn’t waste a ton of your time.
- jackmeat2025年4月8日My quick rating - 5.8/10. I really thought this set the stage for something big—a chilling dive into the dangers of fame, the toxicity of idol worship, and the seductive pull of mythologized celebrity. With a premise this intriguing and John Malkovich at the center as a vengeance-driven, long-lost pop icon named Moretti, I was bracing for fireworks. But what I got was more of a slow burn that never quite ignites. The story follows Ariel, a young writer played by Ayo Edebiri, who’s invited to a lavish and remote compound where the long-disappeared Moretti has re-emerged, surrounded by a bizarre entourage of journalists, hangers-on, and devoted fanatics. It’s a ripe setup, and Edebiri carries the narrative well. She gives Ariel a mix of intelligence and cautious curiosity, even if she pieces things together a bit too quickly for the tension to really marinate. Occasionally, her facial expressions didn’t quite match the tone of the scene, but that felt more like a quirk than a flaw. Malkovich, unsurprisingly, is the film’s biggest asset. His performance as Moretti is magnetic—equal parts bizarre, bitter, and mesmerizing. There’s an eerie allure to how he commands every scene he’s in. You want to know what his endgame is, and he plays it with a kind of menacing grace. Juliette Lewis also brings some grounded chaos to the mix as one of the journalists—potentially one of the many who wronged Moretti in the past. Visually, the film has style. The compound is elaborate and visually striking, and there’s a slightly dreamlike, almost hallucinatory quality to some of the locations that fits the film’s surreal tone. But for a movie that flirts with thriller and psychological horror elements, Opus feels oddly restrained. There’s little sense of real danger, and even once the ensemble realizes they’re pawns in Moretti’s twisted plan, the tension just never fully lands. The special effects, while competent, are used sparingly, and the sense of dread is diluted by the film’s slow pacing and tame escalation. When the final act rolls around, it’s all wrapped up a bit too neatly, lacking the punch or emotional resonance it felt like it was aiming for. There’s a message here—a cautionary tale about the destructiveness of celebrity obsession and media vultures—but it never digs deep enough to feel truly biting. Without Malkovich anchoring the madness, this would have scored lower for me. It’s all atmosphere and concept with not enough impact or narrative bite. Not a bad film by any means, just not the one I hoped it would be. Opus has the ingredients for something compelling, but it never fully delivers on the promise. All pop, no bang.
- Niztradamus2025年8月1日A good movie about a reclusive superstar and his personal cult. Solid acting, solid writing, believable events, all in all worth the watch.
- Kevin Ward2025年7月28日Hot take perhaps, but those Makovich/Moretti tracks (Dina, Simone and 35mm) are both bangers. Ayo and Malkovich are both good in this but the cult of celebrity, satire didn’t really have much bite and as a result is kind of a bore to watch outside of a few scenes. I did like the ending, though.
- Derek2025年7月11日This movie started off good but then immediately burned out in the last 30 minutes. The final act of this film made me wish I hadn't watched it. So bizarre.
- Stephan DuVal2025年7月8日I... just love John Malcovich.
- Michael Foster2025年6月18日It's just so good and deserves all the weird love possible. Aya shines bright along with the entire cast. Filmmaking here is a treat for the senses. Fresh and intricately woven cult horror.
- dvd72272025年5月18日Good cast and good directing with a good pace, movie feels more like a Jordan Peele directed movie with John Malkovich
- NonPlayableContent2025年5月5日Cheap fights, cheap CGI, with some overacting that can be interesting but finally a generic story rehashed.
オーパスに関するトリビア
オーパスは2025年3月13日に公開されました。
オーパスはMark Anthony Greenが監督を務めました。
オーパスの上映時間は1h 44mです。
オーパスはJoshua Bachove, Collin Creighton, Jelani Johnson, Poppy Hanks, Brad Westonがプロデューサーを務めました。
A journalist (Ayo Edebiri) is invited to the remote compound of a legendary pop star (John Malkovich) who mysteriously disappeared 30 years ago. Surrounded by the star's cult of sycophants, she gets caught in the middle of his twisted plan.
オーパスの主要人物はAriel Ecton (Ayo Edebiri), Alfred Moretti (John Malkovich), Clara Armstrong (Juliette Lewis)です。
オーパスはPG12と評価されています。
オーパスはドラマ, ホラー, スリラー映画です。
オーパスは、視聴者によって10点満点中6.1点をつけられています。
オーパス had a budget of $1000万.
オーパス has made $218.4万 at the box office.