![‘Shell’ Review: Elizabeth Moss And Kate Hudson Skewer Hollywood Ageism With Playful Slasher Comedy [TIFF]](https://theplaylist.net/wp-content/plugins/wp-fastest-cache-premium/pro/images/blank.gif)
Max Minghella’s “Shell” follows in the grand tradition of lurid comedies, like Robert Zemeckis’ “Death Becomes Her,” which satirizes societal pressures on women to look youthful and vital into the later stages of life. “Shell” is purposefully designed to be campy, silly, fun—mainstream entertainment with topical bite. And Minghella largely succeeds in his admittedly modest ambitions. It’s too bad he’s had his lunch eaten by Coralie Fargeat’s “The Substance,” a film with an identical premise and analogous execution but a much higher profile. “The Substance” premiered in Competition at the Cannes Film Festival earlier in the year, stars a legitimate movie star in Demi Moore, won the Best Screenplay award, generated considerable buzz and acclaim, and at 140 minutes, is almost an epic compared to the 100-minute “Shell.” “Shell” will struggle to find an equivalent level of exposure and consideration from journalists or audiences but would make a fun double feature with “The Substance.” The two will likely be paired for years to come.
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“Shell” refers to the business empire created by cosmetic procedure mogul Zoe Shannon (Kate Hudson). The idea is based on certain crustaceans, like lobsters, which do not show signs of senescence or aging. Her technology, per advertising, not only stops aging but reverses it. As with any novel ‘medical’ procedure, side effects are bound to follow, but not before Shell has lured and fleeced unsuspecting customers, preying upon their insecurities. “Shell” traces the adventures of 40-something actress Samantha (Elisabeth Moss) as she gets ensnared by Shell. Much hilarity and bloodshed ensue.
Minghella and Moss have a lot of fun lampooning Hollywood ageism against actresses. An extended sequence shows Samantha auditioning for a part and being subject to countless micro-humiliations. Even her representation tells her that “less experienced” actors (code for the young and the youthful) are in vogue in Hollywood. Similar euphemisms are used to call her fat and washed up. Samantha also gets sexually rejected while dating due to a skin condition she has. Initially dismissive of cosmetic procedures, she finally succumbs as she comes to believe it is indispensable for her personal and professional life.
Shell’s Kate Hudson enters the picture, and her initial seduction of Samantha is a comedic highlight. Zoe proclaims to be 68, getting taller every year, feeds Samantha her dead skin, and commands her to pleasure herself with a giant metallic dildo. A running joke is that Samantha is a D-lister from a trashy canceled series that Zoe enjoyed, hence Zoe’s personal investment into one customer among thousands. A moment after her treatment, all of Samantha’s dreams come true, including a lead role in a big production, a new house, and hot men lining up to sleep with her. Minghella makes it very clear her reversal of fortune is meant to be ridiculous—the montage is scored with Katrina & The Waves’ “Walking On Sunshine,” a song that has become a cheesy oft-memed punchline.
Minghella smartly conditions the audience to expect the other shoe to drop as he opens the film with a slasher prologue with another actress (“Showgirls,”’ Elizabeth Berkley). She discovers that the Shell treatment has caused terrifying scales all over her body, tries to report them, and is summarily offed in a gruesome fashion. Samantha’s own gradual discovery of the side effects is amusing and grotesque, all leading up to a surprisingly action-heavy and gory finale.
“Shell” is a breezy watch and maintains a light, playful tone throughout— the audience is meant to laugh with and at the movie. In a nod to the sci-fi nature of the story, Mighella throws in some not-that-futuristic production design, too, including wrist phones and self-driving taxis—both of which play a part in the plot. Both Moss and Hudson are game. Moss is unsparing, appearing physically unattractive at various points. She makes for a delightful, spunky heroine as she unravels a massive conspiracy while dealing with her side effects. Sadly underused by Hollywood these days, Hudson finally has a juicy part where she gets to look fabulous in expensive clothes and flawless make-up, act her heart out, and vamp it up in imperious, camp fashion. Fans of both will be pleased. As will those of the musical act, the Haim sisters, as Este Haim follows sister Alain Haim to the movies in a substantial acting part after her walk-on role in Paul Thomas Anderson’s “Licorice Pizza.” She shares her sister’s talent for screen performance.
“Shell” isn’t exactly subtle about its critique of Hollywood—at several points, Hudson launches into extended monologues spelling out the film’s subtext in plain English. But this isn’t a moralizing or scolding film; it is created to be a hoot, and audiences willing to take the plunge will be rewarded. Slasher fans will also find something to enjoy as the climax delivers all the blood, guts, and viscera they could want. [B+]
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