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The Substance movie review: Demi Moore shines in audacious body horror on ageing

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The Substance movie review: Demi Moore shines in audacious body horror on ageing

The Substance movie review: Coraline Fargeat’s French film The Substance, perhaps the most brutal film of the year- goes to bitter, agonizing extremes. It has a fury and rage that feels utterly distinct in its own genre of body horror. The body here is that of an ageing woman named Elisabeth Sparkle, who is striving hard to reconcile with the fact that she might just be forgotten in the crowd of younger and more attractive women. As Demi Moore plays her, the body hides an insecurity so deep and relentless that it cuts through the screen. (Also read: Demi Moore filmed 45 ‘very difficult’ takes of ‘heart-wrenching’ scene in The Substance: ‘Got to a point where I…’)

The Substance movie review: Demi Moore plays Elizabeth Sparkle in The Substance.

The fountain of youth turns red

Elisabeth is a former star, who is now happy doing her exercise show, but soon enough, she hears that her chauvinist boss (played by Dennis Quaid) is looking for a younger replacement. She escapes a near-fatal accident and, in the process, chances upon an ad for something called The Substance. It can create a younger version of herself by injecting the activator. Every seven days, the original must swap roles with the doppelgänger. Is it safe? What are the consequences?

Elisabeth does not have much time to mull over these questions. Desperate, she quietly returns to her huge Los Angeles apartment (excellently designed by Stanislas Reydellet), which boasts huge glass walls that provide a bird’ s-eye view of the city. The space distinguishes her loneliness as tragically immense and unforgiving. She decides to take the substance, and then it emerges, tearing her backbone apart: her replacement is a much younger woman played by a pitch-perfect Margaret Qualley. She is Sue.

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Demi Moore gives career-best performance

Sue swaps her role as the new face doing those same exercise routines, and her instant rise to stardom means she needs more time and more days. This also means working a little around the rules of using The Substance. Elisabeth begins to resent Sue midway, which forms some of the most hard-hitting scenes in The Substance- away from its all-out bloodied unsubtlety towards the second half. Moore, in her finest hour on screen, is devastating to watch as her self-worth fades away gradually, distilled in this particular scene where she gets ready to meet the one person who has been kind to her for a change. Elisabeth’s own insecurity is the real horror, as she proceeds to smudge it all off with her bare, harsh hands.

Final thoughts

The Substance loses some of that restraint and reflectiveness during the last hour, when Fargeat seems to take the body horror to such an extreme that it glosses over its own critique of ageing and the sexist male gaze. However, it is still relentlessly violent, gruesome, and sickly funny to experience the havoc that happens, thanks to the instantly memorable work of prosthetics and makeup effects designer Pierre-Olivier Persin.

Ultimately, I was left troubled with the body politics of The Substance, a film that only wants to critique what it means to age and unlove oneself. Fargeat’s vision is laced with a riotous fury and audaciousness that gives it back to the establishment that sets these absurd beauty standards. But does it do better in deconstructing this very idea of what ageing looks like in a vastly judgmental world? The dizzying, off-the-rails ending is a problem here because it places the consequences firmly on the feet of the woman herself. She has nowhere to hide, nowhere to go. It is her biggest nightmare come true- facing the world with a frightening version of herself.

Behind the severe shock value, The Substance does little to amplify Elisabeth’s desperation and agony. Who is Elisabeth when she is not defined by the disillusionment brought in by her ageing? Elisabeth exists in this one myopic fulcrum of judgment. So she punishes herself more and more as the film progresses. Suffering and slowly driven to madness. The Substance might as well be treated like a blood-soaked question mark on the unrealistic beauty standards that continue to plague the showbiz.

The Substance is streaming on Mubi.

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Review | 96 Minutes: train bomb thriller forgoes excitement for life lessons

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Review | 96 Minutes: train bomb thriller forgoes excitement for life lessons

2/5 stars

Guilt proves to be a powerful trigger for a retired bomb disposal expert in the Taiwanese action thriller 96 Minutes, when his past mistakes prove every bit as deadly as a bomb planted on board a cross-country express train.

Austin Lin Po-hung stars as Kang-ren, still haunted by his failure to prevent a deadly department store bomb attack three years earlier, whose past catches up with him at high speed after attending a memorial service for the victims.

Travelling back to the capital with the other attendees, Captain Li (Lee Lee-zen), who was Kang-ren’s boss, receives an anonymous message warning that there is a bomb on board set to detonate in exactly 96 minutes, or if any attempt is made to stop the vehicle or unload its passengers.

Clues point to the bomber being on either their train or the one that left a few minutes prior. Both are filled with grieving relatives, scarred survivors, as well as Kang-ren’s own mother (Lu Hsueh-feng) and fiancée (Vivian Sung Yun-hua).

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With the clock ticking, the police must find the device, identify the bomber and save the day before either train hurtles into Taipei station.

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Review | Another World: macabre human fable is a new milestone for Hong Kong animation

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Review | Another World: macabre human fable is a new milestone for Hong Kong animation

4/5 stars

Hong Kong filmmakers rarely get as philosophical about the human condition as they do in the animated feature Another World, which contemplates the limits of goodness in the face of great evil, set against a vibrant action fantasy backdrop.

Adapted from Naka Saijo’s novel Sennenki: Thousand-Year Journey of an Oni with both narrative flair and visual potency, this impressive effort by first-time director Tommy Ng Kai-chung and writer-producer Polly Yeung Po-man is an anomaly in more ways than one.

Although the film’s focus on reincarnation appears to align it with Eastern religions, Another World’s belief in kindness renders it a universally engaging watch. Young children should stay away, however, as they might be scarred by some of the shockingly grisly moments in this macabre tale.

Leading us into the afterlife is one of its spirit guides, Gudo (voiced by Chung Suet-ying), who is tasked with helping deceased souls let go of their memories and escorting them past a magical waterfall into the next life – all the while making sure the “seed of evil” inside each of them, if any, does not sprout out of resentment.

His latest charge is a girl named Yuri (Christy Choi Hiu-tung), whose pure and lively character fascinates Gudo. Yuri is initially not aware that she has died and is instead persistent in her search for her younger brother, whose fate remains unknown for much of the runtime.

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Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus

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Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus

The first critics’ reactions to Now You See Me: Now You Don’t are finally here, and they largely agree that the Lionsgate threequel is another major hit. After being stuck in development, the highly anticipated Now You See Me Sequel will finally arrive in theaters on November 14, 2025, continuing the story of the iconic Four Horsemen, illusionists and street magicians who are experts in orchestrating elaborate heists. 

In Now You See Me‘s third installment, the Four Horsemen recruit three skilled illusionists for another heist involving the world’s largest queen diamond before finding it belongs to a powerful crime syndicate. The hype surrounding the movie is poised to rise after the first wave of reactions had high praise for the project. 

Critics who saw an early screening of Now You See Me: Now You Don’t in New York shared their first reactions on X. The threequel received largely positive reactions, with nearly all critics saying that it is thoroughly entertaining and fun. 

Film critic Andre Saint-Albin described the film as “a sleight-of-hand masterpiece,” noting that Now You See Me 3 has an “entertaining story” and a “phenomenal diamond heist.” He also teased that the film has an “epic” third act while also praising the new casting additions: 

“‘Now You See Me: Now You Don’t’ is a sleight-of-hand masterpiece! The Four Horsemen (Eisenberg, Harrelson, Franco, Fisher) return for their next trick with an entertaining story & a phenomenal diamond heist. Smith, Sessa & Greenblatt plant the seeds as Gen-Z firebrands, clashing with old-school magic. New seeds, old tricks, epic third act! Fleischer’s directs a ride so good fun you’d swear it was sorcery!”

Entertainment reporter Jonathan Sim boldly claimed that Now You See Me: Now You Don’t is a “funny, thrilling heist movie” and teased that it was “filled with surprises:”

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“#NowYouSeeMe: Now You Don’t gives us the magic we’ve been waiting for. A funny, thrilling heist movie. The Horsemen are back in action with non-stop fun, tricks, and joy. The new characters are an A+ addition. Filled with surprises and just as dazzling and astonishing as ever.”

While Critics Choice’s Tony Mosello admitted that it’s more of the same, he said that fans will love Now You See Me: Now You Don’t due to its fun “twists and surprises, with elevated stakes:”

“NOW YOU SEE ME: NOW YOU DON’T proves the original Horsemen still have “it”, injecting the show with youthful energy via the newcomers and a fun, campy, and villainous Rosamund Pike. Full of twists and surprises, with elevated stakes; it’s more of the same, but fans will LOVE it.”

CinemaBlend’s Riley Utley shared that the threequel made her “smile from ear to ear,” and the movie reminded her why the first movie made her fall in love with films in the first place:

“‘Now You See Me: Now You Don’t’ reiterates with exclamation points why the first ‘Now You See’ movie was one of the projects that made me fall in love with movies. There’s nothing better than projects that make me smile from ear to ear, blow my mind and make it clear why movies are magic.”

That Hashtag Show’s Manny Gomez praised how the latest Now You See entry allowed the original cast to “set the stage for the new magicians to shine:”

“#NowYouSeeMe is a fun addition to the franchise that allows the beloved cast to set the stage for the new magicians to shine. Loved the magic… misdirection… and twists and turns that make going to the movies fun.”

The Direct’s David Thompson was proud to declare that the “magic is back” in the Now You See Me franchise after seeing that the third installment was filled with “some satisfying twists and turns:”

“Happy to report the magic is BACK in the #NowYouSeeMe franchise — loved the new cast, a bunch of fun sequences, & some satisfying twists and turns.”

Film critic and The Film Blerds host Brandon Norwood said that fans of the series will definitely “love” Now You See Me: Now You Don’t because it is “thoroughly entertaining:”

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“NOW YOU SEE ME: NOW YOU DON’T: Thoroughly entertaining! The younger cast mixes in well with the OGs. Fans of the series, you’ll love this. Really miss mid-budget studio popcorn fare like this.”

Popternative’s Christopher Gallardo enjoyed the latest Now You See Me entry and described it as a “new-gen rivals old-gen story” that has a special flair:

“NOW YOU SEE ME: NOW YOU DON’T is an exciting thrill-ride with all the tricks and dazzle you’d want. It’s a ‘new-gen rivals old-gen’ story with a special flair that shines with it’s fun cast chemistry. Sessa, Greenblatt, and Smith especially rock all throughout!”

FandomWire’s PossesSEAN gave high praise to the movie’s “impressively staged set pieces,” calling the threequel a “great popcorn movie:”

“#NowYouSeeMe: NOW YOU DON’T was catnip for me — another exhilarating, funny caper with some of the most impressively staged set pieces of the year. A great blend of old and new that effectively ups the stakes and scale. What a great popcorn movie!”

Ethan Simmie of The Movie Draft Podcast admitted that Now You See Me: Now You Don’t went “full Mission: Impossible mode,” with him celebrating the fact that it was “some of the most fun” he’s had at the movies this year: 

“NOW YOU SEE ME: NOW YOU DON’T is some of the most fun I’ve had at the movies all year! This entry goes full Mission: Impossible mode and is hilarious, entertaining, and perfectly meta. I could watch one of these every single year forever. We really do come to the movies for magic.”

Directed by Ruben Fleischer, Now You See Me: Now You Don’t is one of the 12 biggest sequels in 2025. The movie has a stacked cast, including Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco. They are joined by newcomers Justice Smith, Ariana Greenblatt, Dominic Sessa, and Rosamund Pike. Now You See Me: Now You Don’t ⁠⁠⁠will premiere in theaters on November 14, 2025.

Now You See Me 3’s Success Could Lead to Franchise’s Promising Future 

Lionsgate

Based on the first wave of reactions, Now You See Me: Now You Don’t seems poised for success, which is good for the franchise’s future. Moreover, widespread critical praise could boost the movie’s box office returns.

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The long wait for Now You See Me: Now You Don’t could be seen as an advantage because it offers a sense of nostalgia to original fans. The nine-year gap also allowed the movie’s writers to strike an ideal balance, crafting intricate heists while establishing seamless chemistry between the returning cast and new additions.

If successful, Now You See Me: Now You Don’t could lead to future installments or potential spin-offs. With prequel entries to many recognizable franchises like Alien: Earth (read more about Season 2 here) and It: Welcome to Derry finding success in streaming, the threequel’s triumph at the box office could push Lionsgate to explore a spin-off focusing on the younger versions of the Horsemen. 

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