The Substance is an electrifying body horror film that I went into expecting a fun genre flick, but I walked out declaring it my favorite movie of the year so far. Coralie Fargeat has delivered something far beyond a typical horror experience, blending grotesque imagery with sharp social commentary.

First and foremost, DEMI MOORE IS BACK. Her performance as Elisabeth Sparkle is phenomenal, and it’s a perfect role for her, especially given the intense public scrutiny her body faced in the ’90s. Moore dives deep into the role, portraying Elisabeth’s descent into obsession with heartbreaking vulnerability. This is undoubtedly Moore’s best performance in years.

Margaret Qualley, who plays Sue, Elisabeth’s younger, more desirable clone, is equally stellar. She exudes the raw energy of Elisabeth’s inner desires, creating a fascinating dynamic between the two characters. The chemistry and tension between Moore and Qualley are palpable, making their performances a highlight of the film.

Dennis Quaid, as the chauvinistic Harvey, delivers a performance that is over the top in the best way possible. He embodies the sleaziness and cruelty of the entertainment industry’s sexism with such intensity that you can’t look away.

In terms of body horror, ‘The Substance’ is the best since ‘The Fly’. The practical effects are outstanding, and the film *needs* to be nominated for Best Makeup and Hairstyling at the Oscars. The grotesque transformation scenes are equal parts horrifying and mesmerizing, pushing the limits further than I expected—and I absolutely loved every second of it.

Beyond its surface, this movie offers biting commentary on the sexism that permeates the entertainment industry, particularly how women’s bodies are objectified and discarded as they age. The film explores this in ways that are visually extreme but thematically resonant, making it both thought-provoking and shocking.

‘The Substance’ isn’t just a standout in terms of performances and themes—it’s also an impressive feat of filmmaking from Coralie Fargeat, a relative newcomer to the scene. Her direction is rock-solid, balancing both the psychological depth of her characters and the sheer visceral horror that unfolds. Fargeat’s command of the genre is remarkable, and it’s clear she’s a director to keep an eye on. She weaves tension and grotesque imagery seamlessly, bringing an original and bold vision to life.

With a movie of this scale and runtime, the editing is another triumph, injecting the film with a fast-paced, infectious energy. Despite its hefty 2-hour 20-minute runtime, the movie never drags, and that’s largely thanks to the razor-sharp editing. The film moves at breakneck speed, making the experience exhilarating rather than exhausting.

On top of that, the wrtiing is incredibly clever and original. Fargeat’s script manages to blend body horror with biting social commentary, tackling sexism and the entertainment industry’s treatment of women in a way that feels fresh and insightful. My one critique is that some scenes do linger longer than necessary, slightly impacting the overall pacing. However, this is a minor flaw in an otherwise brilliantly constructed narrative.

Overall, ‘The Substance’ is a must-watch, one of the best films of the year. It’s original, bold, and an absolute triumph in the horror genre. Rarely do I give this rating, but ‘The Substance’ earns a solid 10/10. If you love seeing innovative cinema in theaters, do the right thing and give this movie your time and money. You won’t regret it.