Jacked In Reviews ‘The Substance’ (2024)

We join the once-great Elisabeth Sparkle (Demi Moore) as she is abruptly pushed out of the spotlight – now that she’s turning 50. However, she soon discovers she is a perfect candidate for The Substance. An elaborate dosage system of sorts that may “better”, not just her situation… but her actual self.

Imagine if H.P. Lovecraft or David Cronenberg had decided to make Death Becomes Her and you’d be somewhere in the same ballpark as Coralie Fargeat’s darkly comedic, satirical, horror.

It is a satire which displays addiction, obsession with perfection and beauty standards in some of the most visceral ways imaginable. Imagine if H.P. Lovecraft or David Cronenberg had decided to make Death Becomes Her and you’d be somewhere in the same ballpark as Coralie Fargeat’s (Revenge, Reality+) darkly comedic, satirical, horror.

Fargeat casts a middle finger to exploitation masterfully…

The characters that make up this world aren’t so much caricatures but more generalised versions of those in the industry that most definitely exist. Moore’s performance demands praise as she presents something that, in part, feels like a much darker reflection of her own career, exposing every inch of her body, vulnerable for the world to see. Margaret Qualley (Once Upon a Time… in Hollywood, Poor Things) is at the forefront alongside Moore as her “better”, Sue. Fargeat casts a middle finger to exploitation masterfully, conducting Qualley – who steps into the role effortlessly – to expose this toxic ideology. Dennis Quad (The Day After Tomorrow, Innerspace) – as you’ve never seen him before – is the devilishly, despicable cherry on top, Harvey. Energetically insincere and constantly wearing a fake smile (on one of his two faces).

Even in the movie’s more downbeat moments, thanks to the Kubrick-esque style accomplished by Benjamin Kračun’s (Promising Young Woman, Beast) cinematography, you are engaged with every inch of every frame. The camera holds on those imperfections – lit superbly – along with intense close-ups (paired gorgeously with Raffertie’s score) of the more glamorous aspects to the point where it almost becomes gratuitous.

A side note and worthy mention is the movie’s Foley which makes meal consumption (and prep for that matter) seem positively revolting.

It’s just heaps of fun in terms of practical effects, gore and a finale that saw the line and said get fucked, before splattering it all over the screen.

As well as the feature’s twisted infatuation with “bettering” one’s self, above all else, it’s just heaps of fun in terms of practical effects, gore and a finale that saw the line and said get fucked, before splattering it all over the screen.

The Substance is sure to make audiences wince and make the more hardcore horror heads out there feel nostalgic – for a style that is very rare within the genre these days. With more and more of these movies making a resurgence in recent years, fingers crossed that the pendulum is swinging back to the era of beautifully, bizarre body horror.

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