Far site. A group of uncomfortable and privacy hope. A fatal plan that will eliminate it one by one. This formula is almost deceived to avoid extinguishing entertainment horror, but director Mark Anthony Green has the first appearance of the “OPUS” charter the opportunity with highly shocking risks and basic notes only on celebrity culture and fans’ entitlement.
The former GQ Editor, at least, realizes how difficult the struggle for importance in the printed media these days. The writers are struggling with hungry young people to launch jobs with prominent lines, while affecting all unprocessed privileges. ARIEL ECTON, played by Ayu Edpere, is one of the emerging journalists working in the devastating Rolling Stone publication, fighting for automatic interesting tasks to the elderly, even when those that come with the field. Its arrogant president, Stan Sullivan (Murray Bartlet), does not seem to be in any rush to raise the life of Ariel. Even a good friend seems to be believed that she might not have much to advance as it is called “the middle”: which is completely cute who has not faced enough problems in her life.
But the opportunity touched by pioneering news: The icon of the music in the 1990s decided to icon in the 1990s, Alfred Moretti (John Malikovich) to appear again in public places to release his eighteenth album. The strange artist sent a handful of exclusive calls for media – including Stan, amazing, Ariel. He joins them in his distant complex for a long and luxurious weekend to support the version.
It is definitely a big deal for Ariel and every one another; We were told, several times throughout the movie, that Moretti is “one of the greatest artists of our time.” There is a news phase that creates Moretti’s fame and a place. Names like Wolf Blitzer provoke the size of the large deal. Moretti, a multiple award -winning Moretti, was at the cover of each magazine, and topped a title of the highest tours in the history of music. You get the idea.
If “OPUS” has any chance to sell Moreti reasonably a wonderful symbol, as its effect is compared to the likes of David Bowie and Prince, it needs to display some of the truly exciting melodies. Unfortunately, no, despite the original sporting songs of the legendary product Nile Rodgers and dreams. The first track that offers Moretti, “Dina Simone” (already sang by Malkovich like the rest of the tracks), is attractive enough, but ridiculous and illogical, regardless of how much the green tries to persuade the audience (through the adult of the globe montage of fans Those who sing and dance to him) that he is one of the greatest songs that humanity has known. In the fashion of Corolie Corata, which consists of decorated velvet forests, and a vibrant phase teams with a glossy silver-Maurito design that it is a mixture of Boy, Elon John and Dav Bank. But he does not have songs to show them.
The scenes in the desert complex in the “Midsommar” style of “Midsommar” with guests – including Gossip TV from Juliette Lewis Clara, and a veteran photographer in Melissa Chambers (Mark Lotto) Some of them operate Their phones and laptops before they can enter their rooms. While far from the limelight, MORTTI established a society of craftsmen who are proud to make things by hand, breaking the oysters in search of pearls and immersing themselves in the arts of performance, while worshiping their Christ in a human form.
Instead, a dynamic appears like those in the “List”, with Moreti’s faithful workers played by a wonderful group, including Tatanka, means, Asbin Martinez and Amber Midthonnder Luily in everything they are told. (As Conserge Ariel, Midthunder is particularly admired in its short but important scenes) to reformulate, “Muslims pray towards Mecca. Catholics go to the church. What do you do in your religion?” She asks.
A good question, because “OPUS” does not bother to explain Moreti’s motives. Whenever he starts a strange monologue about his strange philosophy, it looks like a meaningless chip of words you want to control. As such, there is only enough information to collect that Moretti has been turned off through how every person around the world felt from the media to fans, against them to get a piece of it. As things escalate, Ariel stumbles in the complex despite all her efforts to leave; The number of the body increases and the cat and mouse game begins. A sequence similar to the bars in which Ariel fights for her life and freedom is the strongest extension of “OPUS”. But one still feels short with the rush of green through both mystery and its solution, as it reaches a confusing conclusion with a little bonus.
With a confused tone between ridicule and horror (which also reaches the eccentric performance of Malkovich, exotic), and many semi -baked ideas about cultural symbols and toxic Vandum, “OPUS” often feels a missed opportunity. In fact, the most worrying things about this topic is how this movie that has been very little produced can be a very little to present.