Review: In ‘Skincare,’ cutthroat competition in the L.A. beauty industry leads to a face-plant
As a movie buff with a penchant for dark, satirical thrillers that delve into the human psyche and societal obsessions, I find “Skincare” to be a captivating debut from director Austin Peters. The film’s portrayal of Los Angeles is starkly different from the glossy, fantasized city we often see on screen, instead offering a gritty, revealing glimpse into the harsh realities of fame and image-obsessed culture.
In a new venture for director Austin Peters, he presents his first narrative feature film titled “Skincare,” a gritty take on L.A. noir that unfolds within the beauty industry. The lead role is played by Elizabeth Banks as a renowned celebrity aesthetician whose standing takes a tumble over a fortnight. The movie echoes other suspenseful, scandalous thrillers that critique a city fixated on appearance – think of “Nightcrawler” or “American Gigolo” – and Peters deftly handles the genre’s distinctive atmosphere and tone.
In the gritty portrayal of Los Angeles depicted in “Skincare,” it’s far from the radiant, golden paradise frequently portrayed on screen – a seemingly perfect, escapist dream. Instead, the light in this series is unforgiving and exposing: intense sunlight, fluorescent lights, and neon signs mercilessly illuminating the visage of Hope Goldman (Banks), a facialist with an impressive clientele on the brink of reaching the pinnacle with her own skincare brand.
Despite striving hard to maintain an image of success with her product launch, hoping it would lead to fame and wealth, it appears that Hope is struggling financially. She’s fallen behind on the rent for her storefront and spa located in the vibrant Crossroads of the World complex in Hollywood. To add insult to injury, a rival aesthetician, Angel (Luis Gerardo Méndez), moves into her territory, pushing an already stressed-out Hope closer to breaking point.
However, it’s not entirely Hope’s fault that she finds herself in this predicament: A secretive harassor begins to tarnish her image, sending unsettling messages with videos of Hope attached, breaching her emails, and slashing her car tires. In desperation, Hope seeks help from the few individuals who stand by her, a group consisting of a TV news anchor (Nathan Fillion), a mechanic (Erik Palladino), and a new acquaintance, Jordan (Lewis Pullman), a spirited life coach.
1. Title Change: “The Struggle for Perfection”
In contrast, Hope seems to possess a somewhat harsh and calculating side, as portrayed by Banks. Despite being the victim in this story, she doesn’t evoke much sympathy, and Banks skillfully navigates this delicate balance. A hint of schadenfreude is noticeable, as it appears that her primary concern is what others think about her and her appearance rather than anything else. Her judgments and allegations contribute to the growing misunderstandings that ultimately lead to the catastrophe depicted in “Skincare.”
The performances by Banks and Pullman breathe life into these quirky characters, transforming what could have been just another genre tale into a thought-provoking and satirical piece. The screenplay, penned by Peters along with Sam Freilich and Deering Regan, falls short in comparison. The plot’s coincidences and twists are intriguing, but the choice to set the story within the beauty industry lacks depth, serving only as a reflection of its superficial nature. The title “Skincare” fails to delve into these themes meaningfully. Additionally, there seems no compelling reason for the story to be set in 2013, other than creating a sense of nostalgia that feels somewhat outdated; the sprinkled Maroon 5 and Katy Perry songs add an ironic humor and temporal context, but the movie didn’t necessitate being a period piece.
Regarding Peters’ screenplay, though it has its drawbacks, he, similar to Hope, demonstrates an exceptional grasp of aesthetics. Working alongside cinematographer Christopher Ripley and editor Laura Zempel, he has produced a captivatingly gritty ’80s-style thriller – or what appears to be a convincing replica of one. While the narrative might be shallow in depth, actors Banks and Pullman manage to uncover an authentic sense of despair within these superficial enjoyments.
Katie Walsh is a Tribune News Service film critic.
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2024-08-19 01:01