Intense Competition in L.A.’s Beauty Industry Leads to a Skincare Catastrophe

Director Austin Peters makes his narrative feature debut with “Skincare,” a piece of dark L.A. noir set within the beauty industry. The film stars Elizabeth Banks as a celebrity aesthetician whose life begins to fall apart over two tumultuous weeks. Peters adeptly handles the style and tone reminiscent of other dark, salacious thrillers that critique a city obsessed with image, such as “Nightcrawler” and “American Gigolo.”

The Los Angeles depicted in “Skincare” isn’t the dreamy, sun-kissed fantasy often shown on screen. Instead, it’s exposed under harsh, unforgiving light: UV rays, fluorescent bulbs, and glaring neon signs. Hope Goldman (Banks), a facialist with a high-profile clientele, is on the brink of success with her own skincare line. Yet, as she prepares for a TV segment she believes will make her famous, her reality is far from perfect. Financial strain threatens her, lagging behind on rent for her Hollywood spa located in the iconic, kitschy Crossroads of the World complex.

The arrival of a competing aesthetician, Angel (Luis Gerardo Méndez), who sets up shop nearby, exacerbates Hope’s stress. Her problems aren’t solely her doing, though. A mysterious stalker begins to sabotage her, sending eerie texts, hacking her email, and slashing her tires. In her distress, Hope relies on a questionable group of allies, including a TV news anchor (Nathan Fillion), her mechanic (Erik Palladino), and Jordan (Lewis Pullman), a young life coach desperate to be her savior.

“Skincare” then shifts focus, alternating between Hope’s struggles and Jordan’s equally chaotic life. Pullman portrays Jordan as a delusional narcissist, exuding an unsettling charm as he spouts motivational drivel into his laptop camera. He embodies a character akin to Tom Cruise’s Frank T.J. Mackey from “Magnolia,” combined with the dim-witted bravado of Michael Bay’s “Pain & Gain” crew.

Banks, in contrast, brings a fierce edge to Hope, a character who, though a victim, isn’t wholly sympathetic. Banks skillfully walks the tightrope, presenting Hope as more concerned with public perception and her appearance than anything substantial. Her assumptions and misguided accusations only add to the miscommunication and eventual chaos.

The performances of Banks and Pullman elevate “Skincare” beyond a mere genre piece, offering a more fascinating and satirical take on the narrative. Despite their impressive portrayals, the script by Peters, in collaboration with Sam Freilich and Deering Regan, lacks depth. The story’s twists and coincidences align, but the setting within the beauty industry feels somewhat superficial. Themes like façade and fantasy are acknowledged but not deeply explored. The choice to set the film in 2013 adds a dated, cheesy feel, with Maroon 5 and Katy Perry tracks providing ironic humor, though it’s unclear why a period setting was necessary.

Despite the screenplay’s shortcomings, Peters, along with cinematographer Christopher Ripley and editor Laura Zempel, crafts an aesthetically compelling sleazy ‘80s-style thriller. While the narrative may be shallow, the performances by Banks and Pullman bring a touch of melancholy to the otherwise surface-level pleasures of “Skincare.”

Source: Los Angeles Times