Review by Jon Donnis
Skincare is a curious mix of ambition and superficiality, one that initially appears to promise a cutting satire of the beauty industry but instead spirals into an uneven crime thriller. Directed by Austin Peters, this 2024 film paints a vividly modern portrait of Los Angeles' obsession with aesthetics and success, yet it falters when it tries to blend biting social commentary with a plot that drifts into melodrama. With a script that is often more concerned with its glossy surface than any meaningful depth, the film struggles to maintain cohesion in its tone, leaving the audience unsure of whether it's meant to laugh, cringe, or recoil in horror.
Elizabeth Banks carries the film with her portrayal of Hope Goldman, a high-powered aesthetician whose rise to fame and fortune is jeopardised by a series of calculated attacks on her personal and professional life. Banks' performance is captivating, portraying Hope as both sympathetic and unnervingly single-minded, teetering on the edge of a nervous breakdown as she fights to maintain her business and dignity. There's a magnetic quality to Banks' presence on screen, and despite the narrative's inconsistencies, she commands attention in every scene. Her ability to balance the desperation and determination of her character lends a sense of gravitas to what might otherwise have been a flimsy role. Her performance, however, is not enough to compensate for a script that fails to flesh out its themes beyond surface-level intrigue.
The film opens with a clever setup that feels deliciously promising, a bitter rivalry between two facialists, played out in the streets of a glittering, vanity-obsessed Los Angeles. The arrival of Angel Vergara (Luis Gerardo Méndez), Hope's rival, is a classic catalyst for the unraveling of her carefully curated life. Méndez is charming and aloof in his role, but his character is never fully developed beyond being a vague antagonist. This lack of depth is emblematic of the film's broader problem, though it teases at the dark underbelly of the beauty industry, it never delves into it with any real substance. Instead, the film veers into an absurd thriller, punctuated by increasingly improbable twists.
The dynamic between Hope and Jordan, played by Lewis Pullman, adds a layer of suspense, though it becomes predictable as the film progresses. Pullman exudes an understated menace as Jordan, initially appearing as a helpful friend but slowly revealing himself to be something more sinister. However, his character's motivations remain murky, and the eventual revelations of his character are underwhelming. The film hints at psychological complexity but never commits to exploring it fully, leaving its characters to feel more like archetypes than real people with rich inner lives.
Stylistically, "Skincare" feels like a love letter to 1980s thrillers, with its sleazy yet glamorous aesthetics and retro-infused soundtrack. There's a slickness to Peters' direction that matches the film's subject matter, the pursuit of physical perfection and the hollow glamour that comes with it. The neon-lit scenes and chic wardrobe choices for Banks give the film an alluringly superficial sheen, but like a poorly made serum, the film ultimately fails to penetrate deeper. This glossy exterior feels like a deliberate choice, highlighting the disconnect between appearance and reality, but it also serves to distance the audience emotionally from the characters' plights.
For all its glossy fun, Skincare falls short of being a truly sharp satire. It flirts with ideas of societal pressure, greed, and vanity, but these ideas remain largely undeveloped. By the time the film reaches its final act, the plot unravels in a disappointingly predictable way. The tension that Peters builds early on dissipates, replaced by a rushed conclusion that feels more like a series of shock tactics than a thoughtful resolution. The film could have benefitted from deeper exploration into the psychological implications of Hope's predicament, but instead, it resorts to a familiar narrative of betrayal and revenge.
Despite these flaws, there are moments of entertainment to be found. The film's pacing is generally brisk, and there are enough plot twists to keep viewers engaged, even if they ultimately lack impact. There's a darkly comic undercurrent running through the film that, when it works, lends a self-aware edge to the more ridiculous moments. However, the film often stumbles when trying to balance these tonal shifts, leaving audiences unsure of whether they should be laughing or taking the tension seriously.
Ultimately, "Skincare" is a missed opportunity. Elizabeth Banks' stellar performance and the film's aesthetic appeal are undeniable, but they aren't enough to salvage a story that feels disjointed and, ironically, shallow. What begins as a promising satire of the beauty industry devolves into a standard thriller that lacks bite. While the film might offer some short-lived pleasures with its twists and turns, it doesn't leave a lasting impression. The end result is a film that, much like the skincare products it critiques, looks good on the surface but lacks any real staying power. I score Skincare a disappointing 6 out of 10.
In Cinemas Now!
