Movie Review

Demi Moore looks to turn back the clock in meta movie The Substance

Demi Moore in The Substance.

Photo courtesy of MUBI

The beauty standards put upon women (and, occasionally, men) in the movie and TV industry have long been ridiculous, although little has changed over the years. Many actors still feel the need to cosmetically enhance themselves in order to appear younger than they are to, in theory, snag roles for which they normally wouldn’t be considered.

In The Substance, Demi Moore plays Elisabeth Sparkle, a fading star who’s about to be kicked off of her long-running exercise show because a network executive, the not-so-subtly-named Harvey (Dennis Quaid), wants someone “younger and hotter.” Soon thereafter, Elisabeth learns about a treatment called “The Substance” that would allow her to transform into an idealized version of herself.

Ah, but there’s a catch: She can only do it for seven days at a time, and if she fails to change back after a week, there are consequences. At first, her "younger" self, who goes by Sue (Margaret Qualley), is diligent about switching back and forth, but as Sue’s rising fame goes to her head, she becomes greedy, borrowing time from Elisabeth in a way that is detrimental to them both. It’s only a matter of time before things come to a head.

Written and directed by French filmmaker Coralie Fargeat, the film is one of the most stylish of the year. Fargeat uses unusual perspectives and eye-grabbing colors to enhance her storytelling, and the visuals and the plot complement each other extremely well. Particularly notable is her depiction of Harvey, an obnoxious and sexist person made even more disgusting by the way Fargeat zooms in on his face while he’s spouting nonsense, eating prawns, and more.

The wild premise of the film only increases in insanity as it goes along, and little can prepare viewers for just how off-the-wall it gets. Gradually, the stylishness gives way to grotesqueness, and Fargeat holds little back in this regard. Without divulging exactly what happens, suffice it to say that the unattainable sexiness that is shown in part of the film is counteracted by some extreme ugliness, and it’s as hilarious as it is off-putting.

Even as it exposes the shallow part of the entertainment industry, the film has a weird anachronism to it. The fall of Elisabeth and rise of Sue revolves around, of all things, a network TV exercise show, something that’s rarely been a ratings monster, and certainly not at the levels stated in the film. It could be argued that, with all of the other strange stuff going on, Fargeat wanted to divorce the film from any semblance of reality, but it still stands out.

While it’s easy to read parallels between the 61-year-old Moore and Elisabeth, the real genius in casting Moore in this particular part is that she has long been confident in her own body, appearing nude while pregnant on the cover of Vanity Fair and starring in Striptease, among other things. This role requires her to be more vulnerable than most other women her age would be willing to be, but her confidence still shines through. The combination of her physicality and her acting makes a big impact, especially as things start to devolve for her character.

On the other end of the spectrum is the objectification of Qualley in order to prove Fargeat’s larger point. Rarely is a moment missed to zoom in on her body as she takes over the dance show or to have Quaid’s character comment on her looks. Both Qualley and Quaid play their over-the-top roles very well, with each seeming to know exactly what they signed up for.

You may not find a more intensely entertaining film in 2024 than The Substance, one that effectively makes its argument about unreasonable body standards in Hollywood while delivering visuals audiences won’t soon forget. With standout performances by Moore, Qualley, and Quaid, it’s not to be missed for those who don’t have queasy stomachs.

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The Substance opens in theaters on September 20.

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Movie Review

Faces of Death returns with modern twist on cult horror film

Photo courtesy of of IFC Films

Dacre Montgomery in Faces of Death.

True horror fans will likely be familiar with the 1978 cult film Faces of Death, which purported to be a documentary showing real-life killings in gory detail. It didn’t, of course, but that didn’t stop rumors from continuing to spread for decades. Now, almost 50 years and multiple sequels later, comes a new version of Faces of Death, an actual movie that pays homage to the original in interesting ways.

Margot (Barbie Ferreira) works at a YouTube-like company called Kino as a content moderator, flagging videos that violate the company’s policies. This means her job often involves seeing some truly despicable things from all manner of depraved people. One day, though, she comes across a video that seems a little too real, and after seeing more similar videos, she starts to believe they’re genuine murders.

Going against her company NDA, she starts to investigate the videos on her own, which puts her on the radar of Arthur (Dacre Montgomery), who is actually kidnapping people and killing them on camera through methods seen in the original Faces of Death film. It’s not long before Arthur tracks her down, with a plan to make her one of his next victims.

Written and directed by Daniel Goldhaber (How to Blow Up a Pipeline) and co-written by Isa Mazzei, the film is not so much scary as it is creepy, with the occasional gross-out sequence. The idea of having someone emulate the killings in the cult film is a good idea, and pairing it with the modern-day attention economy - in which content creators go to increasing lengths for clicks - is a clever twist on a concept that other films have done.

The film as a whole is a commentary on how social media and video sharing sites have often decided to prioritize profits over the well-being of their users. Margot is shown allowing videos involving violence and sexual assault to stay on the site while nixing ones depicting how to use Narcan or demonstrating putting on a condom on a banana. Josh (Jermaine Fowler), Margot’s boss, is even explicit in the company mandate that outrageous videos drive views.

While Arthur has the makings of a good villain, there are few attempts to make him seem truly diabolical. His kidnappings often seem more spur-of-the-moment than calculated, and even though he has a well thought-out dungeon at home, the house’s location in the suburbs seems to make him vulnerable to easy discovery. Goldhaber and Mazzei leave more than a few unanswered questions along the way that take away from the intensity of the story.

Ferreira is yet another actor from Euphoria who’s capitalizing on her exposure from that show. She plays Margot’s increasing anxiety well, and when the action ratchets up in the final act, she meets the moment in a satisfying way. Montgomery returns to the vibe he had while playing the evil Billy on Stranger Things, and even though his character doesn’t fully live up to his potential, Montgomery sells his evil for all it’s worth.

The new Faces of Death may not be what some are expecting given the reputation of the previous films, but it’s a solid horror/thriller that uses the brand as a launching pad into something different. It doesn’t make much of a dent in the scare department, but it does give its violence and gore a degree of relevance in today’s often desensitized world.

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Faces of Death is now playing in theaters.

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