“Skincare,” Austin Peters’ narrative debut, focuses on Hope Goldman, an LA-based aesthetician played by Elizabeth Banks, who is launching her own line of skincare products. After 20 years in the industry, Hope is eager to share her secret formulas with the public. However, she faces a new challenge when a rival spa, owned by Angel Vergara (Luis Gerardo Méndez), opens across the street, setting off a heated rivalry between the two.
The film takes inspiration from real events, notably a notorious feud between facialists Dawn DaLuise and Gabriel Suarez. DaLuise was jailed for allegedly attempting to have Suarez killed but was later acquitted. “Skincare” pulls elements from this case to craft a satirical and mildly entertaining tale about fame, obsession, and the competitive beauty industry, centered around Hope’s battle to protect her business and reputation.
Set in 2013, the film captures the desperation of a pre-Instagram era, when fame was more fleeting. Cinematographer Christopher Ripley enhances the film’s dark mood through close-ups and desaturated visuals, while Fatima Al Qadiri’s eerie score adds a haunting quality. As Hope faces both business threats and personal attacks, the film portrays the blending of her work and identity, particularly in her rivalry with Angel, which goes beyond business to a deeper crisis of self.
The plot thickens as Hope faces strange occurrences—hacking, sabotage, and threats. She becomes convinced that Angel is behind these actions. Hope teams up with Jordan, a life coach played by Lewis Pullman, to fight back and reclaim her business. Peters successfully keeps the film’s rhythm brisk and engaging, though it occasionally loses momentum and sacrifices deeper exploration of the beauty world’s high-stakes competition.
One criticism of the film is its limited focus on secondary characters, like Angel, whose innovative salon techniques pose a real threat to Hope, or Hope’s assistant Marine (Michaela Jaé Rodriguez), who plays a critical role but remains underdeveloped. More exploration of these characters could have added depth to the story, particularly in examining Hollywood’s obsession with youth and the tension between older and newer generations in the beauty industry.
Ultimately, “Skincare” succeeds as a sharp commentary on the price of fame and obsession but falls short of fully delving into the nuances of the competitive beauty world. Peters’ debut shows promise, with well-executed direction and a strong performance by Banks, but leaves some opportunities for a more detailed examination of its characters and themes untapped.
