The film seemed promising initially, and John Malkovich generally excels when portraying unusual characters, but ultimately it feels like an unfinished and somewhat disorganized echo of “Midsommar” and “Ten Little Indians.” He plays “Moretti,” a reclusive pop star who declares after nearly three decades of silence that he’s releasing a comeback album. This news generates considerable excitement within the music business, and when he unveils a competition reminiscent of a golden ticket, inviting a small group to an exclusive gathering at his ranch, an eager journalist named “Ariel” (played by Ayo Edebiri) joins her publicity-seeking supervisor on this high-profile weekend. Upon arrival, she quickly realizes that the setting resembles a cult environment. Numerous seemingly robotic followers, some disturbingly uncomfortable oyster preparation, and overtly sexually ambiguous behavior from their host begin to irritate her, and it gradually becomes clear that there’s a hidden purpose behind this carefully orchestrated fine dining experience. When one of the guests vanishes, the story swiftly moves toward an ending directly inspired by Agatha Christie. The underlying message is actually quite insightful, but the rest of the film feels unoriginal and underdeveloped. Questions arise: Why were these individuals chosen? Who are they? What connects them to each other or to their host? Despite being presented as random and unplanned, the entire plot hinges on characters making very particular (and not always believable) decisions along the way. Malkovich’s performance is noticeable, though that may be partly due to the generally weak script and the rest of the cast delivering a rather formulaic set of performances. Ultimately, it lacks originality or distinction and proves quite disappointing.

Source on TMDB