Demi Moore has done a lot of thrillers. Some have been scary. Early in her career, she did horror films like a lot of actors, but, over the course of her 40-year filmography, she's never done anything like this. It's not necessarily filled with jump-scares or things attempting to get that kind of reaction. This film, written and directed by Coralie Fargeat (Revenge), has things attempting to make its audience squirm or be disgusted with great tension. This film becomes a horror film, but one that feels like a throwback to the 1980's, one that could've been written by Stephen King and one that could've been directed by David Cronenberg. However, Fargeat gives an even stronger female perspective or point-of-view than possibly any film that King or Cronenberg ever had associated with them. If anyone has seen the recent series American Horror Story: Delicate (2023), which was partially directed by Jennifer Lynch, the daughter to David Lynch, than this film has that same kind of vibe.
Much like American Horror Story: Delicate, this film is very much a satire, a brutal satire of Hollywood and how it treats or looks at women in that industry. That series was also a satire of motherhood and what women have to sacrifice in order to be a mother and vice versa, what they have to sacrifice in order to have a career in Hollywood or possibly anywhere. Fargeat's film is essentially dealing with the same thing. It's about how Hollywood only values women, if they're young and sexy. It's about how Hollywood doesn't value aging female stars, even if those female stars are in shape, youthful and absolutely capable. It's about how Hollywood sees aging women as disposable or monstrous.
Moore (Indecent Proposal and Ghost) stars as Elisabeth Sparkle, a famous actress who has a star on the Hollywood Walk of Fame. She's a huge celebrity that likely had a career similar to Demi Moore, if not better. Yet, it's probably been 40 years since then, as is the case with Moore in real life. Elisabeth is currently the face of a network TV show that is an exercise program, which seems similar to the workout videos done by people like Jane Fonda and Richard Simmons. Those videos were popular in the 80's, which made me think this film takes place in the 80's, but we see Elisabeth using modern-technology like a smart phone and a USB drive, even though she also has a landline. She still looks beautiful and she's still capable of doing intense aerobics with barely breaking a sweat. However, she learns that the producer and executives want to replace her with someone younger. Because she's very lonely, she starts to spiral.
What follows is a body-swap film that could be in the vein of Freaky Friday (2003) but way more terrifying. It's also akin to Tarsem Singh's Self/less (2015) but way less action and focus on science-fiction. In a lot of ways, the story here is a version of Oscar Wilde's The Picture of Dorian Gray (1890) in which one learns that pursuing or chasing after youth has horrible consequences. If anyone has seen Apple TV's Severance (2022), which is about people having bifurcated existences, this film has a similar premise, but one mixed with body horror elements from things like Re-Animator (1985) or The Fly (1986). Some might even describe this film as a kind of twisted fairy tale, such as Cinderella (1950), which is about a woman's transformation into something beautiful but only for a limited time.
Margaret Qualley (Drive-Away Dolls and Poor Things) co-stars as Sue, the something beautiful into which Elisbeth transforms. She's a younger version. She's not necessarily a clone. She's a younger reflection. A metaphor could be seen, such as Freaky Friday, that Sue is a kind of child or daughter to Elisabeth. Yet, Sue is only valued for her beauty and sexiness. The film avoids any commentary on her intelligence, creativity or abilities as an actress. Her value is only in her looks, which is a critique of the industry than anything else. However, her character here is more of a parable. If one goes the way of this being a satirical look at motherhood, then Sue is a child that is more or less a vampire sucking her mother's youth. The film could also be a warning about living vicariously through others.
Of course, this film can't be discussed without talking about the gore and the visual effects, including the makeup art that is on display here. Moore was a voice in the animated film The Hunchback of Notre Dame (1996) and it's funny that at one point, it feels as if this film is doing a live-action remake of that Disney adaptation. However, the effects get to a point where it looks ripped from The Toxic Avenger (1986) and it's as if that 1996 Disney flick were directed by the filmmakers at Troma Entertainment. At first, the effects feel like they're on the level of Cronenberg but by the end devolve into Troma levels. It's more funny to bemuse than anything else.
Going back to Stephen King, there's a moment ripped from Carrie (1976) but instead of being a spine tingling climax, it's basically a laugh riot. Putting aside the makeup effects, the most disgusting stuff that Fargeat photographs are close-ups of mundane things. Fargeat has extreme angles of mouths, particularly mouths eating, that's more revolting than all the blood splatter and gore that would come later. Dennis Quaid is the source of some of those close-ups. He's also the most over-the-top comedic character as Harvey, a lecherous and exploitative, TV producer. He adds to an already entertaining and wild ride.
Rated R for strong bloody content, gore, graphic nudity and language.
Running Time: 2 hrs. and 21 mins.
In theaters.