Movie Reviews
‘The Substance’ is a Body Horror Nightmare Mixed With a Cautionary Tale – Review
The Substance, starring Demi Moore, has launched into theaters and we boldly went in to see if it is indeed everything it was hyped to be.
*note: minor spoilers follow for The Substance
Ever since the first trailer for The Substance dropped on the Internet, I felt an overriding need to see this story. That the film starred Demi Moore was more than enough to attract my attention, but it was especially what the trailers suggested and implied about the story that really made me curious.
And then there were the rumors I’d heard of how this film had been received at the Cannes Film Festival and elsewhere. Any film that can make an audience member faint has to be worth experiencing. After seeing the film in theaters I can confirm The Substance is very much worth seeing, nor will you forget it any time soon.

The Substance is set in the modern day and follows Elisabeth Sparkle, a celebrity aerobics instructor who is cruelly fired from her show on her fiftieth birthday as she is now considered “past her prime” by her sleazy boss (Dennis Quaid). Depressed, Elisabeth is seemingly offered a lifeline in the form of “The Substance”, a formula that uses the user’s own DNA to create a younger, more “perfect” version of oneself. Though everything seems to work fine at first, with Elisabeth now split between herself and her younger alter ego ‘Sue’, it quickly becomes apparent that creating a younger self isn’t exactly the help Elisabeth thought it would be.
One thing that must be discussed immediately is the amount of body horror in this film. While I gathered from the trailers that there would be a certain level of grotesqueness, that did not come close to preparing me for what I saw. Director Coralie Fargeat pulls no punches with the body horror, the first scene featuring it in particular was so intense, I actually felt mildly sick. I don’t say that as a negative, as I appreciate body horror films that can push boundaries (Titane is a prime example of this). However, fair warning should also be given that these scenes are incredibly intense and often come with little to no warning in the course of the story.

That being said, all praise needs to be given to Demi Moore and Margaret Qualley in their respective roles as Elisabeth and Sue. Demi Moore gives the performance of a lifetime as the aging Elisabeth, who remembers her glory days as a star and doesn’t want to let them go. You don’t have to be a celebrity to feel the pain Elisabeth exudes as she compares her body to what the industry wants from her, especially after Sue enters the picture. Anyone who has ever been put down for their appearance will be familiar with the pain Elisabeth feels throughout the story.
Then there’s Margaret Qualley as Sue. Once the younger version of Elisabeth gets her bearings, Sue sweeps into the story like a force of nature. You literally can’t stop looking at her. Sue epitomizes everything the entertainment industry demands to see: youth, perkiness, a slim body. It seems like a match made in heaven, except as the story goes on, it becomes increasingly plain how unhealthy and toxic this environment is. Even when someone is physically “perfect”, it’s still not enough.

As I watched The Substance, it struck me on more than one occasion that this story was in some ways an updated take on The Portrait of Dorian Gray. In that story, as in The Substance, a person’s singleminded quest to live the life they think they want seems to be going perfectly, except the damage is quietly building and building until the original body breaks down in total ruin. Once I made that connection, I knew there was only one way this story was going to end. But again, I was not prepared for how intense it would be.
This is where The Substance has one flaw. While the movie overall is phenomenal and deserves to be discussed come awards season, it doesn’t quite stick the landing in the final twenty minutes of the film. It’s hard to say if this is because the director went too far with the gore and body horror, or if it’s because they kept the story going too long after the climactic moment. Either way, the ending is not as satisfying as it could’ve been.
To conclude, The Substance is one of the best films to come out this year, and is certainly the best horror film I’ve seen in 2024. Demi Moore needs to be seriously considered for an Oscar. Even if you’re not a fan of body horror, The Substance is worth seeing at least once.
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Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
Movie Reviews
‘I Swear’ Review – Heart Sans Sap, Cursing Aplenty
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
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