Aarcflick

 In recent years, we've seen countless classroom-commentary thrillers about "celebrity obsession." Specifically, premises about a lower-class protagonist trapped in a single location with a wealthy king of his craft with a cult following. His followers can be his workers (The Menu) or his supportive group of friends (Blink Twice). Either way, deadly complications arise and the protagonist has to do a "Get Out." What sets them apart, despite their flaws, is their distinctive take, tone, and perspective on a similar topic. Mark Anthony Green's Opus, however, comes to the party late, exhausted and confused. Like a student research paper written at the last minute, Opus tackles "celebrity culture" with little precision, because it's too concerned with doing a "Get Out" than being coherent in its discussion of the bridge between celebrities and journalists. Think of that theater critic scene from Birdman in all its weightlessness under the...