A24’s latest thriller, Opus, unfortunately falls short of expectations, especially when compared to several superior horror films that have emerged in recent years. The film features Ayo Edebiri as a young journalist who receives an intriguing invitation to a secluded compound owned by an enigmatic pop star, portrayed by John Malkovich. Upon her arrival, she quickly uncovers the unsettling truth that the pop star has a fervent cult following and that darker forces are at play, hinting at a narrative filled with suspense and intrigue.
One significant factor contributing to the lackluster box office performance of Opus is the oversaturation of similar films in the market. It fits neatly into the niche subgenre of “all is not what it seems” suspense thrillers where unsuspecting protagonists are drawn into the sinister world of cults, leaving them to devise an escape plan. However, Opus faces unfavorable comparisons to other films in this realm, which have managed to deliver smarter, scarier, and more satirical narratives that resonate more effectively with audiences.
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Discover the Dark Secrets in Blink Twice
Zoë Kravitz’s impressive directorial debut, Blink Twice, features Naomi Ackie as a struggling young woman who finds herself enamored with a billionaire tech mogul, played by Channing Tatum, who invites her to his luxurious private island. Initially, the island presents itself as a serene paradise, a blissful escape from everyday life. However, as she explores further, it becomes increasingly clear that a sinister reality lurks beneath the surface, transforming her dream getaway into a nightmare filled with suspense.
While Blink Twice may not achieve perfection, it does manage to maintain a gripping atmosphere that successfully builds suspense over time, a quality that Opus lacks. The film grapples with tonal inconsistencies, oscillating between light-hearted comedic moments and shocking depictions of violence, leading to a somewhat muddled final message. Nevertheless, it engages viewers with its slow-burn mystery, making it a more compelling watch compared to Opus.
Mark Mylod’s horror comedy, The Menu, serves as a compelling template from which Opus draws its narrative inspiration; imagine swapping pop music for high-end cuisine. Instead of a secluded retreat owned by a quirky pop star, the characters in The Menu find themselves at a remote restaurant helmed by an eccentric celebrity chef, brilliantly portrayed by Ralph Fiennes. Anya Taylor-Joy’s character, Margot, mirrors Edebiri’s Ariel, as she is the sceptical outsider who refuses to embrace the surrounding cult-like atmosphere and embarks on a mission to expose the unsettling truths behind the restaurant.
Unlike Opus, which struggles with vague themes of celebrity worship and the allure of fame, The Menu delivers a sharply defined satirical critique of the elite culinary world and its intricacies. Fiennes’ performance as a sadistic villain is unforgettable, elevating the film beyond mere entertainment to a biting commentary on the excesses of the culinary industry.
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Experience the Thrills of Survival in Ready or Not
The comedy thriller Ready or Not, directed by Radio Silence, features Samara Weaving as a bride who finds herself in a terrifying survival scenario as she becomes the target of her husband’s affluent, devil-worshipping family on her wedding night. Similar to Opus, this film subverts the traditional final girl trope, but it does so with far greater success, empowering its protagonist to outsmart her aggressors and emerge as a formidable force.
Beyond its thrilling premise, Ready or Not cleverly critiques themes of socioeconomic disparity while delivering a delightfully wicked slasher experience. In a landscape flooded with critiques of wealth and privilege, few films manage to balance entertainment and incisive commentary as effectively as Ready or Not. Weaving’s performance as the beleaguered heroine is captivating, and the film culminates in one of the most satisfyingly gruesome final acts in the recent history of horror cinema.
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Unravel the Horrors of Cult Life in Midsommar
In Opus, the cult known as the Levelists pales in comparison to the chilling Hårga cult depicted in Midsommar. This unsettling film, reminiscent of the classic The Wicker Man, stars Florence Pugh as a distraught young woman who accompanies her emotionally detached boyfriend to a nine-day midsummer festival in the desolate countryside of Sweden. What begins as an enchanting adventure quickly spirals into a harrowing nightmare, as the dark secrets of the commune begin to unravel.
While Opus attempts to evoke the shock value found in Midsommar, such as grotesque imagery involving puppets made from decaying rat carcasses and a dying woman crammed into a beanbag chair, it ultimately falls short. No other filmmaker captures the level of chilling nuance quite like Ari Aster, whose Midsommar opens with a horrifying murder-suicide and escalates into a series of increasingly disturbing events, including a sledgehammer mercy killing, harrowing mushroom experiences, and a human corpse displayed as a blood eagle.
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Uncover the Social Commentary in Get Out
