The Substance delivers an intense, visually mesmerizing commentary on the entertainment industry's obsession with youth and outward beauty. Demi Moore and Margaret Qualley offer remarkable, maybe even career-best performances, with Dennis Quaid excelling in his role as well. Coralie Fargeat explores how aging stars, particularly women, are discarded when they no longer meet the industry's strict beauty standards. Moore's character, haunted by the memory of her former fame and beauty, goes down a dark path in pursuit of a "better" version of herself. The story is also a sharp critique of power dynamics, with white men controlling who's in front of the spotlight, while women are pitted against one another for validation. The film's production is equally impressive, especially the makeup and prosthetic work that elevates its body horror elements. While the first half of the movie is more subdued, the gore ramps up significantly as the plot unfolds, culminating in a chaotic "fourth act" that will leave audiences bewildered. The fast-paced editing, paired with an impactful score, heightens the tension and surrealism of the narrative. Though there's a part of me who prefers a version of the film that ends before the wild final act, the overall experience is an unforgettable, audacious exploration of vanity, control, and desperation in the entertainment world. Rating: B+

For a film that’s laser-focused on the human body, it’s gloriously on point that THE SUBSTANCE begins with a freshly cracked, bright yellow egg yolk. Eggs are the ‘giver of life’, right? They’re the origin of all of us. Gleaming and plump, the yolk suddenly gets pricked – not by a fork, but a syringe. That’s the first juicy visual metaphor of many in this meaningfully bonkers body horror, for which French filmmaker Coralie Fargeat picked up the prestigious Best Screenplay prize at this year’s Cannes Film Festival. To call the film ‘bold’ is a weapons-grade understatement. It’s an audacious, jaw-dropping examination of what screens & billboards demand of women (especially as they age), and how laughably impossible it is to meet those demands. Well, if you didn’t laugh, you’d cry. After watching THE SUBSTANCE, you might do both. Here's our deep dive for good.film: https://good.film/guide/holy-sh-t-the-substance-is-a-weapons-grade-takedown-of-the-male-gaze

Demi Moore's performance in The Substance is so potent that it's hard to tell what's more intoxicating; her inevitable Best Actress win or Coralie Fargeat's razor-sharp screenplay that's already got the Oscar in the bag.

There’s a big difference between being funny and being laughable, yet the latest from writer-director Coralie Fargeat has somehow found a way to be both. After amassing a considerable amount of largely well-earned cinematic goodwill in the film’s opening segments, the picture mercilessly squanders that support in the final act with an overlong, meandering, disgustingly gratuitous and grotesque exhibition of utterly bad taste. This story of an aging actress (Demi Moore) who seeks to revive her career by retrieving some of her lost youth with the aid of an enigmatic injectable follows her grand misadventures when the mysterious substance prompts the emergence of a younger doppelganger (Margaret Qualley), who becomes a Hollywood sex kitten sensation virtually overnight. To make this experimental venture work, however, the two individuals must follow a complex set of rules, dictates that become increasingly difficult to follow as they each vie for their respective shares of attention. And, as this scenario unfolds, tension grows between them, leading to complications and unexpected developments that become progressively harder to manage. But that’s where what works in the film ends. As the story plays out from there, it becomes stupendously absurd, and, even though there are some hearty laughs in this, there are even more ridiculously implausible and unexplained occurrences that try audience members’ patience and tolerance, so much so that I couldn’t wait for this trainwreck to end. In addition to the foregoing shortcomings, the film includes myriad changes in tone, making it difficult to determine whether this is supposed to be a serious thriller or a campy road, very much in the same way as in the incomprehensible French offering “Titane” (2021). It also shamelessly “borrows” elements from other movies in various ways, most notably imagery and narrative references from “The Shining” (1980) and “Young Frankenstein” (1974), costume designs from the “Hunger Games” franchise, and bafflingly inexplicable soundtrack excerpts from films like “Vertigo” (1958). Then there’s the picture’s obvious, heavy-handed message about the perils of misogyny, observations that, as important as they are, could easily stood to have been turned down more than a few notches (yes, we get it already). At the same time, though, there are also some fundamentally innate questions about the narrative that go wholly unanswered, leaving us with numerous head-scratching moments. Sadly, these failings detract significantly from the elements that do work (at least early on in the film), such as the fine performances of Moore and Qualley, the picture’s inventive cinematography, and a central premise that could have made for an engaging story if handled with greater finesse. But these strengths are effectively cancelled by what ultimately results when this release goes off the rails. Indeed, how “The Substance” captured the 2024 Cannes Film Festival award for best screenplay is truly mind boggling. I’m certainly a fan of the weird, wild and wacky, but this release undermines the virtues of those cherished qualities. Regrettably, I was seriously looking forward to seeing this offering, and I was decidedly impressed by what I saw in its opening acts, but that was all wiped out by how this one ultimately played out, a picture that, in the end, ironically relied more on style than “substance.”

This takes a logical step on from Coralie Fargeat's earlier "Reality+" (2014) drama, only this time it takes a much more substantial swipe at all things vain. "Elisabeth" (Demi Moore) has been at the top of her fitness game for many a year when her boss "Harvey" (Dennis Quaid) decides that she's now too old and that a younger model is needed to present those programmes we all saw on the television of gorgeous, fit and healthy, people showing us how to exercise on a mat in from of our televisions each morning. Distracted by her imminent removal, she is involved in a car accident that introduces her to an handsome young nurse (Robin Grear) and then to a curious invitation to test out a mysterious fluid that can essentially give her her cake and eat it. In best "Jekyll and Hyde" tradition, injecting this quite literally creates a split personality. One is her current self, the other a perfect, younger specimen. They work in a rota system each gets a week of consciousness then has to take a week out. Thing is, the more vivacious character "Sue" (Margaret Qualley) is not so religious about sticking to these sharing rules and we quickly discover that what is "borrowed" can never been returned - with increasingly harrowing results. With the gushing "Harvey" determined to capitalise on his new ratings winner, things become decidedly irritating for the now marginalised "Elisabeth" - but shat can she do? There's no going back...! I think this is Moore at her best. Her palpable sense of evolving fury, exasperation and frustration is expertly captured as is the selfishness of her alter ego by an on form Qualley. Quaid steals his scenes as the truly odious epitome of corporate greed for whom it's all about the business, the money and never the actual people concerned. The denouement is reminiscent of something concocted by one of the David's - Lynch or Cronenberg, and allows the throbbing ghastliness of this story of vanity gone mad to demonstrate just how fickle life can be when there's little actual substance at all to their shallow and vacuous lives. A savage indictment of the short-term and unprincipled "beauty" industry that aims squarely at just about everyone and everything involved, is engagingly toxic and well worth a watch.

Certainly an experience! <em>'The Substance'</em> is <b>a lot</b>. It's one of those sorta movies that I needed to let settle in my mind before I even started to think about reviewing it. I'm not even sure where to start. It's insane from pretty much the beginning to the very end of its 140 minute run time, some scenes are particularly rough to watch unfold! I think the only body horror flick I've seen up until this point is David Cronenberg's <em>'Crimes of the Future'</em> from 2022, which I found to be solid enough but it came across, at least to me, as a bit too forced for shock value. This 2024 release has plenty of that, if not more, but it somehow feels totally at home with what surrounds it. The story itself is fascinating, even taking out all the craziness with the gore et al. So by no means is this a film that is style over substance (sorry). It isn't anything actually overly original in terms of the base plotline, though the way it is portrayed and brought to life is astounding - every inch is expertly crafted. Demi Moore is outstanding in this! I haven't seen her in much, at least anything released post-2002, but here she is top quality throughout. Margaret Qualley is obviously the opposite in terms of the former, though is just as fantastic in regards to the latter - great performance! If you see anyone giving warnings ahead of watching this, they are very much warranted! Even with all the graphic twistedness, which will turn many away, this is an impressively enthralling picture. I may need a lie-down though.

I love French comedic films, and this one is no different. Coralie Fargeat crafted a seemingly simple story on the subject of Hollywood's obsession with youth and beauty, and then directed it right into the status of cult, horror, midnight, grade B (the good kind) movie genre. Brilliant! While on the face, this movie is about aging out of Hollywood's graces, the script is also laced with interesting subplots: having a proxy that ages for you a la Oscar Wilde's Dorian Gray, and the subject of shallow self-hate and self-love, along with that "needy for applause" character that so many actors have and must either learn to deal, or fail at life. Demi Moore is nothing short of awesome here. Dennis Quaid and Margaret Qualley are right up there with her and Fargeat in playing over-the-top choices.

**The Substance (2024)** A Visceral Exploration of Youth Obsession and the Fear of Time "The Substance" is a bold cinematic experience that masterfully resurrects the practical effects of 1980s horror, delivering a visual and auditory feast that is both nostalgic and groundbreaking. Directed with a keen eye for detail, the film delves deep into society's obsession with youth and the inevitable passage of time, offering a thought-provoking commentary wrapped in visceral horror. The film follows a renowned actress, portrayed by Demi Moore, who grapples with the fear of aging and losing her fame. In a desperate attempt to reclaim her youth, she becomes entangled with a mysterious substance that promises vitality but comes with horrifying consequences. As she navigates this treacherous path, the lines between reality and obsession blur, leading to a descent into madness. At its core, "The Substance" is a critique of the 21st-century fixation on youth over the value of life experience. It echoes themes from classics like "Death Becomes Her" and "The Picture of Dorian Gray," highlighting the shame associated with aging and the societal pressure to maintain perpetual youthfulness. The film questions whether society promotes a 'sexy reality' at the expense of genuine substance and wisdom. The narrative explores the concept of cheating death, not just literally but metaphorically, as a fear of social death—being forgotten or replaced. This is poignantly portrayed through Moore's character, who embodies the desperation of clinging to relevance in a world that idolizes the new and discards the old. **Practical Effects and Gore** From the opening scenes, it's evident that the physical effects are a labor of love—a homage to the era before CGI dominated horror. The gore is unapologetically front and center, reminiscent of Cronenberg's "The Fly," pushing the boundaries of on-screen grotesque. The disturbingly realistic blood effects, combined with meticulously crafted sound design, amplify the discomfort, making the audience squirm. **Color Palette and Visual Aesthetics** The color palette is meticulously crafted, bathing scenes in hues that evoke unease and familiarity simultaneously. The use of shadows and lighting enhances the suspense, while the wardrobe and costume design serve as narrative devices, illustrating the juxtaposition between youth and age, purity and corruption. **Performances** Demi Moore delivers a stellar performance, capturing the vulnerability and desperation of a woman battling the relentless march of time. Her portrayal adds depth to the film's themes, embodying the internal decay and obsession manifesting physically through the substance. The supporting cast also contributes significantly, with each character representing different facets of society's views on youth and aging. **Critique** While the film excels in many areas, it isn't without flaws. The ending feels abrupt, leaving several narrative threads untied, which may leave some viewers unsatisfied. Additionally, the persistent focus on teen emotional states can be grating, potentially alienating those seeking a more mature exploration of the presented themes. **Engaging with the Hype** "The Substance" has generated significant buzz online, sparking discussions about its innovative use of practical effects and its deep societal commentary. The hype seems to stem from both horror enthusiasts who appreciate the throwback to classic techniques and audiences resonating with its timely themes. However, it's worth considering whether the film is merely feeding into the very cycle of superficiality it aims to criticize. "The Substance" is a visceral commentary on the fear of aging, the obsession with youth, and the inevitable march of time. It challenges viewers to reflect on their perceptions of age, experience, and what truly holds value. By drawing parallels with films like "Gremlins," "Frankenstein," "A Christmas Carol," and "Carrie," it positions itself as a modern amalgamation of timeless themes. Despite its imperfections, the film succeeds in sparking conversation—a hallmark of impactful cinema. It's as uncomfortable as it is thought-provoking, demanding to be felt and discussed. Whether you love it or hate it, "The Substance" is a noteworthy addition to the horror genre that holds up a mirror to society's own fears and obsessions. **Extra Thoughts** - The film raises pertinent questions about our role in perpetuating the fear of aging. Are we complicit in creating a world where experience is devalued? - The character dynamics suggest that embracing change and maintaining balance might be key to a fulfilling life, even if it comes at a cost. - The hype surrounding the movie could reflect its resonance with audiences grappling with similar fears and obsessions in today's youth-centric culture. **Final Recommendation** "The Substance" may not offer all the answers, but it provides a platform for dialogue on important societal issues. Its blend of classic horror techniques with contemporary themes makes it a film worth experiencing. If you're a fan of thought-provoking horror that goes beyond mere scares, this movie deserves a place on your watchlist.

"The Substance" is something of a cinematic mash up. First off, this story is somewhat reminiscent of "Death Becomes Her". The 1992 film starring Meryl Streep, Goldie Hawn and Bruce Willis. The notion of the fatal conceit in the search for eternal youth amongst the ageing Hollywood set is very much central to the story in both films. That said, the handling is distinctly different. This film is a lot louder, gaudier, brasher, cruder and ruder, than its 90's counterpart by a country mile. There are elements I'd typically associate with Lovecraft too, that are grotesque, monstrous and disturbing. This work is also more a visually clever, as opposed to narrative experience. Its messages are conveyed, like Hollywood itself, through larger than life youthful glitz and glamour but also an innate, ephemeral shallowness.A shallowness that becomes a kind of obsessive prison, denying those trapped in it, any meaningful form of human intimacy. My only criticism of what I do feel is a very good film, is it overplays its hand. Its so over the top in the latter part of the film, I felt it partly drowned out the message, it had, up to that point, convincingly conveyed. The closing scenes. in particular, felt crude, clumsy and would have worked considerably better, with more controlled and subtle, handling. In summary, "The Substance" is a rather clever film that uses the eye of the lens to expose how what we see, in Hollywood at least, is more important than who we are. People are shiny commodities to be replaced when the beautiful image they portray starts to wither away. As we see, youth and beauty is everything, no matter the price. I will say too, this is by no means a perfect cinematic experience. It can be over the top, especially in the latter part of the film. That said, there is, on balance, more to like here than not. Definitely worth a look.

A disaster. It's an insult to the illustrious careers of Demi Moore and Dennis Quaid, who both deserve far better. The film focuses too heavily on the body of Margaret Qualley's character, Sue, at the expense of delivering a meaningful story or message. The gratuitous gore towards the end seems to be an attempt to align with current trends, but it falls flat. Ultimately, Coralie Fargeat failed to deliver a coherent message, making the movie a missed opportunity for everyone involved.

I’m into strange films, psychological elements, dramas, and gore, but this movie is complete garbage.

Grotesque, diving into the pitfalls of progress and the human obsession with perfection. Visually, it’s remarkable — its uncanny imagery often leaves you questioning whether you’re thrilled or disturbed. However, while it’s bold and at times deeply unsettling, it doesn’t quite achieve that elusive "perfectly balanced (as all things should be, cit.)" quality. The narrative occasionally stumbles, with gaps that detract from its overall impact. It’s thought-provoking but not groundbreaking — a film that’s above average, yet just shy of excellence. And I like to imagine that the director somehow died during the making of the movie and was secretly replaced by Yoshihiro Nishimura.