Shocking! Brutal Competition in LA Beauty World Causes Massive Face-Plant in ‘Skincare’!

In his first narrative feature, director Austin Peters presents “Skincare,” a dark and twisted tale set in Los Angeles’ beauty industry. The film, starring Elizabeth Banks as a famed aesthetician facing a rapid downfall, recalls the sinister tones of other thrillers that critique a city obsessed with appearances, such as “Nightcrawler” or “American Gigolo.” Peters handles this subgenre with impressive expertise.

The Los Angeles depicted in “Skincare” is not the usual glitzy, picture-perfect city often portrayed in movies. Rather, the city is shown in an unflattering light that exposes its harsh reality: intense UV rays, fluorescent lights, and glaring neon signs all shine on the protagonist, Hope Goldman (Banks). Hope, a facialist catering to high-profile clients, is on the brink of launching her own skincare line.

Struggling to maintain her image ahead of her product launch, Hope records a TV segment hoping it will bring her fame and wealth. However, it soon becomes clear that her financial situation is far from stable. She’s behind on rent for her shop and spa located in the famously quirky Crossroads of the World complex in Hollywood. As more pressure builds with a rival aesthetician, Angel (Luis Gerardo Méndez), moving in on her territory, Hope starts to lose control.

Yet, Hope’s downfall isn’t entirely self-inflicted. An unknown stalker begins to tarnish her reputation by sending unsettling texts with videos of Hope, hacking her email, and vandalizing her car. Hope’s only allies are a group of unsavory men, including a TV news anchor (Nathan Fillion), her mechanic (Erik Palladino), and a new acquaintance, Jordan (Lewis Pullman), an overly enthusiastic life coach.

“Skincare” alternates focus between the failing Hope and the equally struggling Jordan, who is eager to play her savior. Pullman’s portrayal of the delusional and egotistical Jordan, who is overzealous with his motivational gibberish, is superb. His character echoes Tom Cruise’s Frank T.J. Mackey from “Magnolia” but lacks the intelligence of Michael Bay’s characters in “Pain & Gain.”

Banks brings a tough edge to the ambitious Hope. Although she is a victim, her character is not entirely likable, and Banks masterfully walks this fine line. The story reveals a hint of schadenfreude as Hope prioritizes her image and the opinions of others over everything else. Her own prejudices and accusations contribute significantly to the misunderstandings leading to her ruin in “Skincare.”

The performances of Banks and Pullman help to transform what could have been a simple genre piece into an intriguing and satirical exploration. The screenplay, written by Peters, Sam Freilich, and Deering Regan, is less captivating. It ties together random events and plot twists, but there is no real reason for the story to be set within the beauty industry beyond the fact that it’s a business built on illusions and superficiality. “Skincare” barely scratches the surface of these themes. There’s also no clear reason why the story is set in 2013, causing it to feel somewhat outdated. The film’s background music featuring Maroon 5 and Katy Perry adds a touch of irony and a timestamp, but it didn’t necessarily need to be a period piece.

Despite the shortcomings of his screenplay, Peters is a master at crafting an aesthetic, and with the help of cinematographer Christopher Ripley and editor Laura Zempel, he successfully creates a compelling representation of an ’80s-style thriller. The story may be shallow, but Banks and Pullman manage to find a sense of despair within these superficial delights.”

Katie Walsh is a Tribune News Service film critic.