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R
for sexual content, graphic nudity, language throughout, some violence and brief drug use.
Starring
Elizabeth Banks, Lewis Pullman, Luis Gerardo Méndez, MJ Rodriguez, Nathan Fillion
Director
Austin Peters
Producer
Jonathan Schwartz (VII), Logan
Genres
Thriller
Released by
IFC Films / IFC Midnight on
8/16/2024
Nationwide
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Trailer
Review
Skincare takes its inspiration from the real-life case of Dawn DaLuise, a West Hollywood aesthetician whose dubious business tactics, which may have included hiring a hitman to eliminate a rival, made headlines in the L.A. era back in the mid-2010s. (No one else in the country cared much about what amounted to a sordid local story.) With actress Elizabeth Banks on board to play Hope Goldman, a fictionalized version of DaLuise, director/co-writer Austin Peters played fast-and-loose with the facts to give the movie a more "Hollywood" feel (ironic considering that the setting is Hollywood). The result isn't great. Skincare feels like it wants to be a screwball caper movie but the comedy gets lost along the way. The thriller elements are rather pedestrian and the mystery is neither interesting nor compelling. And, although Banks' performance is fine, the character is so unlikable that spending 90 minutes in her company isn't the most rewarding of experiences.
Skincare's central character is Hope. When we're introduced to her, she seems to be at a career peak. Her salon is doing well and she's about to launch her own cosmetics line, which she is heavily promoting. She appears to be stretched thin financially; her landlord is dropping reminders of when the rent is due. Everything starts to go south with the arrival of Angel Vergara (Luis Gerardo Mendez), who opens a competing business only a stone's throw away. Suddenly, Hope is yesterday's news. Her fortunes begin to tumble and, to make matters work, she has attracted a stalker. Not content merely to watch her, he begins to sabotage her life and business, posting fake ads on sex sites making it seem that she'll participate in rape fantasies and engage in other degrading acts. Her clientele starts to abandon her; a local TV personality, Brett Wright (Nathan Fillion), pulls a pre-recorded interview from his morning show; and her financial woes mount. She blames everything, including slashed car tires, on Angel. In desperation, she turns to a new acquaintance/lover, Jordan (Lewis Pullman), who claims to be an influencer/marketing guru. Then, in even greater desperation, she engages the services of Armen (Erik Palladino), who offers a permanent solution.
Had Peters leaned more heavily into the absurdity of the situation - sort of like what Gus Van Sant did with the 1995 Nicole Kidman-led dark comedy, To Die For - Skincare might have worked. But it makes the fatal error of taking the material too seriously. The tone never stabilizes and any mystery about the identity of Hope's harassers is artificial. Watching the movie, there are times when I was confused not about the story but about the filmmakers' intentions. And, whether or not this was calculated, I developed an intense dislike for Hope.
The parts of Skincare that work the best are the ones that stick closest to what happened in real life. When the narrative slips (either in part or wholly) into fiction, the contrivances mount. The character of Armen never makes sense, in large part because he didn't exist (he's very loosely based on an ex-NFL player named Chris Geile) and the writers aren't able to craft a credible motion picture facsimile given the details of the real-life person. Another problematic story element relates to the Brett Wright character, who seems like a sleazy post-#metoo stereotype. Instead of being predatory and chilling, he comes across as a buffoon.
IFC is giving Skincare a limited theatrical release but this feels like a direct-to-streaming offering if ever there was one. Put into a Netflix or Prime Video library and given a little pre-release publicity, it might attract an audience. It's hard to see many viewers tracking this one down in a multiplex or art house. Narratively, it lacks definition. The acting is at best adequate - Banks is easily the best thing in the movie and this is far from a career-best for her. And, despite a relatively brisk running time, it overstays its welcome. Problems with the trailer are indicative of problems with the movie. After watching the two-minute clip-show, it's hard to determine the nature or direction of the storyline or why the film should be worth seeing. After watching the entire thing, the latter question remains.
© 2024 James Berardinelli
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