Here are Cinephile Corner’s 10 recommendations for movies like Opus:
Midsommar
Midsommar is one of the more daring movies of the last 20 years. Ari Aster’s sophomore film is a follow up to his audacious breakout horror hit Hereditary, which features similar, gory visual motifs to Midsommar. Florence Pugh stars in a movie that’s equal parts sadistic and hectic, upsetting and unnerving. It’s not for the faint of heart, but it grows in my estimation upon each rewatch (for which there have been many).
The Menu
A mixed bag of ideas and food for thought, Mark Mylod‘s The Menu still excels with winking characters and great visual design. The movie struggles to establish much beyond its own genre beats, but that doesn’t take much away from the crowd-pleasing journey the film goes on.
Blink Twice
Blink Twice wears its influences on its sleeve, but for a directorial debut like this for Zoë Kravitz, I thought it was pretty commendable. The industry is begging for a few more genre filmmakers capable of projects that are equally fun and thought-provoking, and Kravitz is able to switch between one and another on a dime. The performances help elevate the material, too, which inevitably pushes Blink Twice over the finish line.
Get Out
What more can be said about Get Out that hasn’t already been written? Jordan Peele’s directorial debut was an instant cultural and cinematic phenomenon—one of those rare films that completely redefines its genre while achieving both critical and commercial success. It was a movie that not only announced Peele as one of the most exciting new filmmakers of the decade but also proved that horror could be both socially charged and immensely entertaining. While Us confirmed that Get Out was no fluke, and Nope showcased Peele’s ability to handle blockbuster-scale storytelling, it all started with this razor-sharp psychological thriller that remains just as effective years later.
Holland
Holland feels like a half-baked thriller with a solid premise but a lackluster execution. Mimi Cave’s Fresh had a bold, distinctive style, whereas Holland feels like a retread of better films with similar narratives. Nicole Kidman stars alongside Matthew Macfadyen and Gael García Bernal.
Presence
Presence is another fascinating experiment from Steven Soderbergh, a filmmaker who has spent the last decade pushing his own creative boundaries. With films like Kimi and Magic Mike’s Last Dance, he’s proven he can reinvent genres with an auteur’s touch, and Presence continues that trend—this time through a unique first-person POV horror/thriller. While the movie doesn’t entirely stick the landing, its technical craftsmanship and conceptual ambition make it an intriguing entry in Soderbergh’s ever-evolving filmography.
Last Night in Soho
Few directors are as defined by their style as Edgar Wright, and Last Night in Soho is a movie that thrives when it fully embraces that signature flair. From its bold lighting choices and meticulously curated soundtrack to the seamless fusion of past and present, this film is an exercise in aesthetic precision. Starring Thomasin McKenzie and Anya Taylor-Joy, it’s a visually dazzling, nostalgia-drenched psychological thriller that starts strong but ultimately falters in its final act.
Trap
There is some fun to be had with M. Night Shyamalan‘s Trap, but it’s hard to tell how intentionally awkward and cheeky much of the script is. Josh Hartnett is the quirky glue that kinda holds it together, but the plot unfolds in a clunky fashion and morphs into something completely different in the third act. A middling Shyamalan movie.
MaXXXine
MaXXXine has a handful of worthwhile moments, but the movie ultimately ricochets between two different sides of Ti West’s mind: the throwback B-movie auteur with a great taste for kills and the heady screenwriter with something to say about the industry he works in. It’s unfortunate that MaXXXine doesn’t strike that balance often, and it’s easy to tell when he’s switching from one gear to the next. Mia Goth reprises her scream queen role as the titular film star.
The Watchers
It’s not all bad, but I wished The Watchers tied together better. A monster movie with diluted monster energy, the movie wanders along, yanked forward by solid captives and a couple noteworthy scares. Ishana Night Shyamalan should keep attempting to make movies like this because I’d imagine most will achieve greater success.