The Substance

Let me start with the positives. There are a LOT of them. The casting? Perfect. The acting? Pretty flawless. All performances drew me in and added greatly to the story. The concept was phenomenal and super interesting. A really great idea for a movie. The cinematography was unique and very good. The score also greatly added to the suspense. The first 2 thirds of the movie executed all of these things to a T

So why 6 stars? THE ENDING. Took the believable and suspenseful story aspects and threw them out the window in favor of indulging the director's Cronenberg fantasy and desire to max out the special effects budget. It came off as completely disorganized, almost like they had no idea what to do with the ending or any desire to make it interesting. A movie with so much going for it and I left the theater disappointed.

Side notes: enough with the butt shots. We get what you're trying to do, that's enough. Also, if you want to disgust your audience, put in the work in the writers room. Adding over the top squelching sounds to almost every scene is lazy.

I've been looking forward to this from the moment it was first announced to premiere at Cannes. The premise caught my eye, I love some good body horror, and I like Demi Moore and Margaret Qualley. That filmmaker Coralie Fargeat won Best Screenplay at Cannes further stoked my interest, and I was eager to see 'The substance' as soon as it was released - only the third film I've made a point to see in theaters in 2024, and only the eleventh total since the COVID-19 pandemic began. I had very high expectations. And I've been very disappointed. I question the praise and accolades this has been awarded, and I don't think it's nearly worth going out of one's way to see.

All the way through to the end there are strokes of brilliance throughout the film in various ways. It begins so very promisingly, with small touches of cringe-worthy body horror prepping us for more gnarly visions to come. There's a strong undercurrent of psychological horror on hand, too, as the connection between Elisabeth and Sue runs deeper than a one-line synopsis suggests, and the story is primed to explore the splintering of not just bodies, but minds. More readily evident are the themes on hand, and rest assured that this dives headfirst into the difficulties of aging in modern society, specifically as they apply to women, and even more specifically to women in entertainment: the way that anyone older than thirty suddenly becomes invisible; the way that producers, casting directors, and talent agencies are always looking for the hot young thing; the desperation to feel and remain relevant, outright vanity, and reckless and/or selfish impulses; how young stars are molded and affected by all these factors, potentially resulting in a proverbial monster far removed from the person they were before. And from the outset 'The substance' latches onto a tendency for extreme detail that dovetails neatly into all such big ideas and juicy potential: camera and microphone alike accentuate mundane minutiae that are jarring and off-putting when heavily spotlighted; the ordinary human body, and indeed undeniable beauty, has never been more repulsive; Dennis Quaid is so disgusting in this instance, owing to both audiovisual presentation and characterization, that he's almost as revolting as the figure he portrays in another current release, the biopic 'Reagan.' And that's saying a lot.

From the start this also had a couple issues that gnawed at me, including music that at the outset was unnecessary and which began at an 11, trying to artificially assert ambience before anything had happened. More substantively, details in the picture as we see it - or rather, a lack of rounding details - raise a skeptical eyebrow as Elisabeth is selected out of the blue; questions nothing about the offer that has been extended to her at no charge, nor the set-up that the mysterious, wholly unexplained organization has devised; and has been given no actual instructions or meaningful information about "the substance," but charges ahead while understanding perfectly what the procedure is. Now, I've seen it remarked that modern audiences are too obsessed with plot, looking for details (present or absent) that poke holes in one's immersion, instead of just enjoying the show. I've never understood so clearly what that remark is referring to, and all the same my viewing experience was tripped up by these details, and also by the fact that in no time at all our protagonist is so careless as to disregard the scant few instructions she was given. As a further demerit, an early sequence probably needed a disclaimer, for I worry about viewers with photosensitivity. And still these matters, and some others of a smaller and less overt nature, are nothing compared the most significant problems plaguing the feature.

I said that 'The substance' begins promisingly, and I truly mean it. Would that Fargeat had stayed the course. There comes a discrete point somewhere around the halfway mark where the measured, nuanced body horror and psychological horror are set aside, and the tone shifts significantly. The fact is that this tries to be about half a dozen different movies, and while some of the flavors ably mix, others do not. Body horror and psychological horror do not mix with the most wildly over the top acting and direction that takes over, suddenly and then periodically. The flick almost becomes horror-comedy as it irregularly slips into bare-faced satire that leaves behind the more deliberate sensibilities with which Fargeat first approached the material. At times this is so simple-minded in its ordinary horror-thriller ideations that it becomes dull; there comes a time when the growing darkness of the more subtle thoughts is just discarded outright, and we're now watching a pure monster flick. Before all is said and done, this also embraces a level of blood, gore, literal splatter, and outrageous visuals that one is reminded of Brian Yuzna and 1989's 'Society,' if not also Stuart Gordon with his own irreverent genre frolics. Through to the end there are strokes of brilliance in all these capacities, and even the body horror and psychological horror continue to rise and recede. But the amalgamation as a whole doesn't work, and the doing is instead so messy and aggravating that I came close to just walking out. I've never done that before, and I still haven't, but this was almost the first time.

In all other regards this is tremendously well made. The stunts and practical effects are stupendous, including instances of violence, blood and gore, and certainly special makeup and creature effects. Where computer-generated imagery is sparingly employed, that judicious utilization blends seamlessly into the filmed footage. The production design and art direction are impeccable, and the costume design, hair, and makeup (of all stripes) are flawless. I love Raffertie's music in and of itself, themes that resonate powerfully as they complement the sordid tale, and I take issue only with how it is employed at times. Moore and Qualley give fantastic performances of admirable nuance, range, poise, and physicality, ably bringing to bear all the turmoil of Elisabeth and Sue; Quaid is solid in his supporting part. The sound design is terribly robust in the best and worst of ways, Benjamin Kracun's cinematography is sharp, and the editing is keen. The very concept is outstanding, and the procedure that Elisabeth and Sue must maintain is kind of ingenious. Unfortunately, none of this matters so much when the storytelling swerves so inelegantly between airs that do mesh, that don't mesh, or which downright compete for dominance. At its best I can understand why Fargeat was honored with "Best Screenplay"; I can also understand why she won "Best Screenplay" and not "Best Film" or "Best Direction." At its worst, I think even that honor was undeserved.

I entered with very high expectations, and I've been very disappointed. 'The substance' could have been many things, but it couldn't be all of them. The best notions that it had going for it, the measured, mounting body horror and psychological horror, unquestionably represent the best possibilities for the concept, but the others might have been just as swell all on their own. All together, it falls apart, and it does so as a discernible juncture. I wondered many weeks ago how this genre piece could be a whopping two hours and twenty minutes long, and the regrettable answer is that it tries to do and be too many things. With all this having been said, while it's possible I'm being too kind, I'm not inclined to say that the title is altogether bad. I don't dislike it. But then, any broad words of positivity, extended to the entirety instead of to particular elements, also seem several steps too far. I suppose I'm glad for those who get more out of 'The substance' than I did, but I find it difficult to offer an especial recommendation.

In 2017, Coralie Fargeat's directorial debut 'Revenge' was released. A subversive tale of vengeance, like 'Kill Bill' mixed with 'Wolf Creek,' it was greeted with overwhelming praise, going on to make just under a million dollars at the box office. A strikingly shot picture overflowing with thematic weight, it showed Fargeat as a filmmaker unafraid to push boundaries and challenge conventions; a visionary with bold ideas.

A notion compounded by her second feature 'The Substance'. A satirical body-horror, it centres on Elisabeth Sparkle, a fading Hollywood starlet. After her 50th birthday, she is fired from her job as host of an aerobics show; her producer reasoning she is past her prime. Circumstances introduce Sparkle to a new wonder drug, creating a younger, more beautiful and perfect version of herself- if she follows the instructions, that is.

'The Substance' is a wild film, most easily described as being like 'All About Eve,' or 'Sunset Boulevard,' if directed by David Cronenberg. It contains much thematic depth, perhaps most obviously about fame, objectification and the ridiculous beauty standards faced by females in Hollywood. Fargeat's screenplay delves into the perils of a society obsessed with youth and perfection, showcasing the lengths to which individuals are willing to go to, to maintain their relevance and desirability.

It is a sad truth that, traditionally, opportunities for actresses dry up after they reach a certain age. Famously, in the early 1960's, Bette Davis was having such a hard time finding work that she placed an advertisement in The Hollywood Reporter, offering her services. In it, she stated that she possessed "thirty years' experience as an actress in motion pictures" and was "mobile still and more affable than rumour would have it." With her narrative, Fargeat cuttingly satirises the Hollywood machine, as well as the fickleness of fame.

Furthermore, the film explores the duality of identity and the internal conflict between one's true self and the facade presented to the world, echoing Oscar Wilde's 'The Picture of Dorian Gray' and Robert Louis Stevenson's 'Dr. Jekyll and Mr. Hyde'. Moreover, it can also be seen as a metaphor for the internal and external pressures faced by women in the entertainment industry, while other notions, such as addiction, control and obsession, are also examined; interwoven cleverly into the narrative and explored with tongue firmly in cheek.

It is a visually arresting film, with Fargeat's signature style evident in every frame. Alongside director of photography Benjamin Kracun, her use of vibrant, contrasting colours creates a surreal world for Sparkle to navigate; like some kind of 1980's hellscape. Furthermore, canny homages to other filmmakers (including Roman Polanski and Stanley Kubrick) serve to heighten the sinister atmosphere of proceedings, which the use of wide-angle lenses and extreme close-ups compounds. Combined with Gladys Garot and Stanislas Reydellet's meticulous production design, as well as Emmanuelle Youchnovski's costumes, the visuals are unsettlingly artistic and powerful.

The sound design is similarly effective at generating a sense of macabre disquiet. Much like the lush visuals, sounds are heightened to have the upmost effect. Moreover, Benjamin Stefanski's score is eerie and evocative, generating much dread, while songs like Bernard Hermann's 'The Nightmare & Dawn' from 'Vertigo,' and 'Pump It Up' by Earl Gregory are used to particularly strong effect. Furthermore, it is a well-edited picture, moving at a fast pace throughout.

In addition, the special effects and make-up are disgustingly breathtaking. Much like Rob Bottin's incredible work for John Carpenter's 'The Thing,' or Chris Walas and Stephan Dupuis's similarly brilliant efforts for Cronenberg's 'The Fly,' Pierre-Olivier Persin's mostly practical effects are jaw-dropping. In the latter half in particular, they are on full display, and are never anything less than bloody amazing.

Demi Moore stars as Sparkle, and is startlingly intense. She goes all out, holding nothing back- both literally and metaphorically. There are parallels between herself and the character of Sparkle, which serve only to heighten the impact of the narrative and the power of her performance. "Fearless" and "brave" are words often applied to actors, and are usually inaccurate overstatements- they're only acting, after all, not firefighting. However, they are probably the best terms to describe Moore's work in the film. It's a gutsy performance devoid of vanity, that may be her best so far.

Margaret Qualley does similarly powerful work as Sue, Sparkle's alter-ego. Much like Moore, she gives everything to the role, and is equally compelling. She brings a vibrant energy and unsettling allure to proceedings, making her character sinisterly beguiling, and the film all the more gripping for it. In addition, Dennis Quaid- in a role originally meant for the late, great Ray Liotta- is magnificently manic as Sparkle's producer; clearly having a ball with the material.

In conclusion, 'The Substance' is a thought-provoking and visually arresting film that solidifies Coralie Fargeat's reputation as a bold and innovative filmmaker. By blending satirical commentary with visceral horror, Fargeat crafts a narrative that is as entertaining as it is unsettling, making the film a must-watch for fans of body horror and incisive social commentary alike. Boasting strong performances and incredible special effects, it fires on all cylinders and doesn't disappoint. So, buy the ticket and take the ride, because 'The Substance' is a trip worth taking.

The movie starts off strong, with a solid story that suggests a clear narrative. However, as the plot unfolds, it begins to lose focus. Midway through, the film becomes disjointed and chaotic. Initially, it seems like the two main characters are connected, perhaps sharing a mind, but then the story abruptly shifts, revealing them as separate individuals in conflict with each other. By the time you reach the end, the movie veers completely off course, diving into B-movie absurdity.

This had the potential to be a great film, but the third act desperately needed a rewrite. The overall execution feels as if Rob Zombie was brought in for rewrites and reshoots, lending it an uneven tone. Despite its flaws, Demi Moore delivers a strong performance, portraying her character with conviction. While the movie is okay, it ultimately falls short of its potential.

The better version of you is you. Not to be someone else nor someone younger or prettier. I like the message that packed in sarcastic way. At the end of the day, you need to choose, your own beauty or beauty with the monster within. Getting older and not pretty anymore is natural. Getting less famous and attractive is the consequences of life. Be grateful of what you have, and being not satisfy with what we have, only will lead us to the disaster. And remember karma does exist. You plant flowers, you will see the beauty. So, it is worth to watch. You will not see scary thing if you understand the message.