[NoHo Arts District, CA] – In this month’s movie and TV reviews, Mike Peros talks about the Oscar nominations and looks at The Substance and Anora.
The Oscars are this Sunday and, for various reasons, I’m more dismayed by the slate of Best Picture nominees than I have been for a long time. I’ve already shared my feelings about The Brutalist. So, I’d like to share a few thoughts concerning The Substance and Anora. Both (at press time) are considered front-runners in various categories, including Best Picture and Best Actress and…both films left me cold. And only after a needlessly excessive running time (Is it me, or do films nowadays lack the wherewithal to leave the audiences wanting more?).
The Substance is, plain and simple, a horror film, albeit a horror film with pretensions. Written and directed by Coralie Fargeat, it stars Demi Moore as Elizabeth, a 50 year-old host of an aerobics TV show who is unceremoniously dumped by boss Dennis Quaid (in full sleaze mode and enjoying every minute of it), mainly because of her age. She is told she would be a good candidate for “the substance,” which would basically create a younger, more perfect version of her (via one major injection, then a series of stabilizing shots). Of course, there are a few provisos concerning this “substance,” especially regarding the timely manner of shots, so as to prevent decay and deformity in the original body. Plus the fact that the younger and older women cannot be out and about simultaneously: while one is amongst society, the other remains in an unconscious (stabilized) state—and is dependent on the conscious one to switch roles in a timely manner.
And of course before you can say Seconds or Dr. Jekyll and Mr. Hyde or Dorian Gray, it’s not long before abuses set in. The younger version of Elizabeth, calling herself Sue (Margaret Qualley) is instantly embraced by Elizabeth’s former employers, complete with TV show and full-scale publicity build-up, while Elizabeth becomes increasingly age-conscious and more reclusive. Each is resentful of the other, even though they are different versions of the same person. So…what’s my problem? Well, both Elizabeth and Sue behave stupidly and selfishly (beyond the realm of credibility) in a rather rapid fashion, so there is precious little to care about. This leaves the viewer to only care when will this thoroughly implode (or even explode)—and when it does, it does so in a prolonged, redundant manner that by the end one is exhausted (and perhaps pummeled), but not necessarily entertained. The two ladies are fine but there’s little opportunity for them to do anything but scratch the surface. Apart from one scene where Demi Moore’s Elizabeth squanders the chance to reconnect with a former admirer, her nominated performance consists of horrified reactions to her deterioration (in turn enhanced by make-up and special effects). After she gets her Oscar, I hope she finds a role that doesn’t prove to be an endurance test for her or the audience.
And then there’s Anora. I was intrigued by the premise: Cinderella story, only Cinderella is a stripper in Brighton Beach, only her Prince is an immature Russian with some unsavory family ties. Written and directed by Sean Baker, this “madcap screwball” romp has Anora (Mikey Madison) enjoying a (well-paid) week of fun with Vanya (Mark Eydelshteyn), the immature son of some very powerful Russian parents. Vanya convinces Anora to marry him so he can get a green card, then all hell breaks loose, as the family fixers (led by Vanya’s godfather Toros, played by Karren Karagullan, and his henchman Igor, played by Yori Borisov) arrive to put the kibosh on the marriage. What ensues is allegedly meant to pass for humor, as Toros finds Anora a handful, so much so they have to tie and gag her, followed by Toros’ endless explanations about how immature Anora is, and why they have to do what they have to do. For her part, Anora is played as single-minded, abrasive, and more than a little dense, and between the screaming and screeching of all concerned, I wanted this to end long before the inevitable conclusion. Most critics don’t agree, as Anora has been nominated for Best…Everything. If you want, see for yourself—don’t say I didn’t warn you.
What are your thoughts on the Oscar nominations and have you seen The Substance and Anora?