“Opus” is an engaging thriller with flaws. On the plus side, the production values from the music to the sets are very good. The ending has a great plot twist. But unfortunately, the screenplay leading up to the denouement is much weaker and filled with too many unanswered questions. Strong performances from John Malkovich and Ayo Edebiri cannot overcome the weak script.

The movie begins with scenes of fans at a past concert getting down to the music of Alfred Moretti (John Malkovich). This wunderkind was popular from 1985 to 1995. He had 38 number-one hits before he mysteriously withdrew from society.

In the present day, Ariel Ecton (Ayo Adebiri) is at a table discussion for article ideas for the music magazine at which she works. She proposes a winning subject, which her boss Stan Sullivan (Murray Bartlett) thinks is great. But then he immediately takes the writing of the potential article away from her.

Later, when Ariel is dining out with a friend, he bluntly tells her that she lacks life experience and is not a risk-taker, whether in her career or love life. She is taken aback by his candor.

In the magazine office, exciting news comes over social media. Moretti’s publicist, Soledad Yusef (Tony Hale), discloses that Moretti is putting out “Caesar’s Request,” a new album of music.

Stan receives an invitation to a private weekend gathering at the compound where Moretti lives. Surprisingly, so does Ariel. Stan puts her in her place by saying that he will write the article and that she can “take notes.”

The two take a plane to an airfield from which a luxury tour bus will drive them over to Moretti’s remote location. Other invitees include Clara Armstrong (Juliette Lewis), a TV host for a gossip show; critic Bill Lotto (Mark Sivertsen); influencer Emily Katz (Stephanie Suganami); and paparazzo Bianca Tyson (Melissa Chambers).

When they arrive at the spacious Moretti estate in the middle of the desert, they are asked to surrender their cell phones. Then it is revealed that they each have a personal “concierge” who will follow them everywhere they go.

There are many people in similar blue garments who appear to be occupied at various tasks. They are called Levelists. At the dinner table, everyone has to take a bite out of one piece of bread which is passed around. Ariel is not allowed to sit with the more important guests and is relegated to the equivalent of the kids’ table. She is seated next to a young girl, Maude (Aspen Martinez), who befriends her. When Moretti arrives in pomp and splendor, he tells an inane anecdote about Muhammad Ali and Chuck Norris.

After the meal, Ariel goes to her room and sees through the peephole that her concierge Belle (Amber Midthunder) is sitting outside her door popping bubble gum. A reel-to-reel player has been provided to listen to a new Moretti song, a ballad.

As the visit progresses, Belle notices, unlike the other guests, that it appears that she is trapped in a cult. People start to disappear. What is going on?

The problem with the screenplay largely revolves around the confusing nature of the Levelist cult that seems to worship Moretti. Firstly, it is hard to see how Moretti segued from being a pop star to leader of a cult. Obviously intended to be a satire of idol worship, nevertheless Moretti lacks the charisma necessary for this to happen. If anything he is more oddball than inspiring.

Secondly, there is not enough information given out about what this cult believes. I never could figure it out. Instead there are random weird scenes to show how different these people are. In a yurt, Moretti takes Ariel to watch dozens of oysters being shucked to find the few that have pearls. One kid shoots Stan with an arrow. A horrid puppet show has ugly rats interviewing Billie Holiday.

In addition to the obscurity of the cult philosophy, the script uses time-worn tropes that any horror film observer knows are danger signs. Giving up their cell phones, guests being followed everywhere, and being stuck in an isolated location are three such obvious examples. Making Ariel the only one who can sense the problem is too unbelievable.

While John Malkovich gives a stellar performance, especially in his final scene, the script does little to help him out. Moretti is clearly talented. But you never can figure out his raison d’etre. I couldn’t tell if the screenwriters wanted me to think that he was insane, deluded, or anything other than a talented musician. His scenes do not add up to a coherent picture of this character.

Ayo Edibiri gives a believable performance as well as the reporter Ariel. Her character, though, is given little to do except be frightened and resilient in the face of danger. Her backstory is too weakly presented to make her a real person.

Everyone else seems to play an archetype. The biggest waste of talent is Juliette Lewis who is hardly in any scenes.

But the music, both the score and the songs, is superb. Nile Rodgers and The-Dream composed the songs. You could believe that these songs were composed by a talented artist and that the one from Moretti’s heyday could have reached number one. The score is full of musical touches that generate unease as the film progresses.

The set of the compound is a tour de force. Interior spaces are often claustrophobic. The random yurt sitting alone in a field is striking. The Rhinestone Chalet, an old Victorian-style home, to which Ariel escapes at one point, is decked out with superb kitsch.

Moretti’s costumes are often over-the-top as one would expect of a pop star. I loved the use of sarongs. When the guests are gussied up to hear the premiere of a new Moretti song, they look gorgeous and handsome.

Despite the confusing and incomplete elements, I found myself engaged to see what would happen and if anyone would survive. Although I was sometimes exasperated by the characters’ denseness, I was never bored. Plus I loved the ending.

These conflicting elements, both good and bad, make me give this picture three stars out of five.

A young writer (Ayo Edebiri) is invited to the remote compound of a legendary pop star (John Malkovich) who mysteriously disappeared thirty years ago. Surrounded by the star’s cult of sycophants and intoxicated journalists, she finds herself in the middle of his twisted plan.

Cast: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Amber Midthunder, Stephanie Suganami, Young Mazino, Tatanka Means
Written and Directed by: Mark Anthony Green