In Coralie Fargeat's new feminist horror movie The Substance, damaging social appeal requirements are the true beasts. They (women objectification, the disposal of "the aged," the proliferation of a field built on physical body alteration) feed a creature of a cycle that leads Demi

The effects are absorbing if from time to time unsatisfied, both equally in the tale and its telling. No life is seamless, instead of just about every biographical portrait really should be, but this just one is so riddled with awkward transitions, including on the soundtrack, that it has a tend