Within a short period of time, people will not have to worry about growing old at all. De-aging has become a reality in a sizzling boutique salon in Los Angeles. Don’t be left out! That is the fictional plot of Skincare, IFC Films’ latest release this week which stars great actors like Elizabeth Banks who also brings out an actual radiant beauty. Austin Peters (Give Me Future), its latest film’s budding director, calls it “sunshine noir” as it glimmers with light and shade. You’ll get this within minutes of the opening scene.
As Hope (Elizabeth Banks) walks across Sunset Boulevard and other hot spots on Hollywood in search of the American Dream, justice or much more, you may think about those sun-drenched noir classics from the ‘70s onwards. The title Skincare might not promote SEO but rather serves as an apt metaphor for what lies underneath — when ugly thoughts fester beneath veneer of toughening face masks; when hard work, proving your worth and youth being prized so much matter.
Firstly, it’s difficult to believe that such a wild story was based on another true one. Yes indeed – Hope Goldman in some way mirrors a real beautician who was arrested for planning to murder someone she competed with once again. Truth is stranger than fiction – this saying applies here. However, the rest of Skincare remains thrillingly fictitious with an expansive gallery of characters whose anecdotes lead us through tunnels that make up these underground worlds full of salons and how to stand above others belonging to rat packs.
That Banks’ previous on-screen partner was Nathan Fillion who also appears in Skincare seems incredible considering that 18 years have passed since those days they appeared together in Slither (2006). In some ways that hilarious creature feature still feels postmodern just like sleek dazzling chaotic nature of Skincare does as well; especially when Peter purposefully jumbles his direction, at times giving the Safdie brothers (Uncut Gems, Good Time) a run for their money. Starting off peacefully as Hope advertises her beauty products from Italy on a playful L.A morning show hosted by Brett Wright (Fillion who is quite funny).
But then things start to go wrong and Hope starts losing hope in herself. There is someone who seems to be sabotaging her. Her email is no longer secure. Someone out there has impersonated her and they are posting some weird stuff on craigslist. It all comes through us at some points in a rush but that’s the point of it all actually. Who did it? Is it Jeff (John Billingsley), the landlord of the business who recently allowed another beautician named Angel (Méndez) open his salon directly across the street from Hope? The fact that Angel too has blonde hair does not make things easier nor does the possibility that his goods may work better than hers.
Another real-life reunion happens here with Fillion when Méndez also previously worked under Banks’ direction for Charlie’s Angels reboot several years ago. These real life connections between performers seem to add something to this movie. When actors’ drop down into amusingly awkward moments like when Angel and Hope first meet each other exchanging words brimming with sarcasm, there needs to be trust between them on set—while Banks and Fillion simply prove hilarious together once things get sleazy and gross about them.
Besides, Hope does have other friends apart from her best friend. In the rebranding process, Jordan may be having an ulterior motive, but maybe not. It’s Hollywood what do you expect? This is a great departure for Bill Pullman’s son who thus far has been cast as a rising star and little else.
Hope also has a mechanic friend on Armen (the hilarious Erik Palladino) who seeks blood after discovering there was an unknown person or persons still trying to ruin Hope’s career. But it goes beyond hacking emails and posting online content. Additionally, Hope’s beleaguered assistant is played by the consistently sharp Michaela Jaé Rodriguez and she seems like the ethical center of Skincare at its brightest.
The interesting thing about Skincare is that it takes care of its characters and gives them human qualities rather than use them as part of this conspiracy machine only. However, we would have liked to see more of Jordan (maybe because Pullman is so good.) What these people are like at home beneath all this beauty and touch-ups take co-writer/director Peters’ film to another level. Who exactly are we behind our social masks?
However, the end lets down what preceded it which was very keen on luring readers. Banks remains a force in front of the camera in Hollywood.
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