If Opus was published a decade ago, it may be easier to catch on its originality and depth when it comes to building discussion of worshiping celebrities (and its relationship with cult behavior), and to turn horror movie trops on their head . Unfortunately, it is announced at the end of the tail of the wave thrillers that all follow the basic structure: an eccentric rich person and/or celebrity invites several selected to join them in a remote location, bringing their devils and murderous secret plans. "Glass onion", "Blink twice", a little "Midmar", and especially "The menu" All recent examples that Opus remembers something unusual, and comparisons do not make many favorites. Of course, being a part of a trend or a cinema none does not automatically disqualify the film - there is enough room for "Armageddon" and "deep influence", in other words - but the question is that Opus holds its cards too close to Chest too long, losing viewers before there is a chance to fly a legitimately attractive twist over them.

Opus introduces a fictional mega-house, Alfred Moretti (Johnon Malkovich), which has made massive influence on the industry and culture 30 years earlier before the frivolous disappearance of the public eye. Suddenly, he returned with a big new album entitled "Caesar's request", and in very fashion of Agatha Christie, he invited only a few people to go out to Utah, where his compound lives, and first hears The album listens to the album. These not so many funny guests are Paparazzo, Bianca (Melissa Chambers), a former rival of Alfred's rock star, Bill (Mark Sivensen), influencer of social media, Emily (Stephanie Suganami), TV Personality, Clara (Jululiki Louis), And the editor of the music publication, Stan (Murray Bartlett). In many "Willie Winka" style, however, Alfred also invites one of Stan employees, the young and ambitious (yet unknown) journalist, Ariel Ecthon (Ayo Edebiri). Her invitation is something that everyone assumes is an act of charity by the Starweet, especially Stan, who insists he will be the only one to write the last pieces of his time in the Alfred compound.

Surely, it is Ariel who begins to walk through the mysteries around Alfred, his new album, his relationship with the cult organization called levels, and why every invited is intensively bothered and shaded by an assistant level. Things eventually become dangerous and violent, but the big question is that when they do so, it is still unclear why. Those answers come, but for some it will be too late, and I can't blame them - flight movies work best when some stakes and rules are established, even when they change later, and Opus is too blurred for too long.