"Opus" Is Fun But Doesn't Know Its Own Motivation
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.

The story of the activist Hanna Ziadeh and his struggle for human rights in the Middle East - as it unfolds in the streets of Cairo, Beirut and Aleppo, - while the Arab spring turns to fall. The story of Hanna Ziadeh Hanna was born in Beirut; he is a PhD fellow at the Danish Institute for Human Rights and specialized in the modern history of the Arab world. He is half Lebanese, half Palestinian, atheist, but of Christian descent, and homosexual. He knows everything about belonging to a minority, about being an outsider even among outsiders. His inconformity shines through when you meet him, as his engagement, caring and loving appearance overwhelms you. Since his escape from Lebanon in 1986 he has been waiting for a democratic alternative to the Arab dictatorships.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
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