SHELL

There will inevitably be comparisons between 'Shell' and 'The Substance', both for what they're trying to say and how they're trying to say it. 'Shell' is strong in its commentary towards our aesthetic approach to life, using both dark comedy and horror to express this message. Despite any sense of imitation, it's been in the works since 2018, with the COVID-19 pandemic causing several delays. It's a lot less subtle than its predecessor, with Sam frequently battling through clunky dialogue as she comes to a realisation. The original script from Jack Stanley ('The Passenger', 'Lou') isn't necessarily bad - in fact, the moments of comedy and horror are pretty well done - however, when trying to go through the motions with the main themes of the story, there isn't a tremendous amount of subtlety at play. As such, there's not a great deal that will surprise you about 'Shell', but that adds to some of the campy quality the film offers.

This is enormously helped by the presence of Elisabeth Moss and Kate Hudson. They absolutely understand who they're playing, and don't for a moment make a wrong turn. Hudson steps into the high-heeled shoes of the evil CEO a little too easily, coming off as charming and persuasive with a streak of danger; exactly the kind of person you'd immediately want to be best friends with... especially someone like Sam, who isn't used to getting this kind of attention, let alone from a successful, beautiful billionaire. Yet it's Moss who truly captivates in this film - she thoroughly becomes the highly awkward, socially uneasy Sam. Even after her treatment, at her most glamorous, at her most confident, this still remains at the core of the character, making it one of the more honest makeover movies I've seen. Moss was also five and six months pregnant during the film's shooting, most impressive given the level of action she's involved in throughout.

Perhaps the excellent turn from Moss comes from her solid working history with director Max Minghella ('Teen Spirit'). The pair starred together in 'The Handmaid's Tale' for six seasons, so naturally, they developed a strong working relationship. Minghella says that 'Shell' "...exists in a different time, when character-driven, genre movies were thriving. When the industry relied on the talent and charisma of movie stars." His overall concept (and terrific execution by production designer Susie Mancini, 'Dicks: The Musical', 'Ingrid Goes West') for this moderately futuristic world - something old, yet also new - feels like one slightly adjacent to ours, where phones are solely worn as watches, TVs are vertical, homes are sleek, sparse and white with clean lines, yet music seems to emanate from the 1980s, and bulky leather jackets and big hair are inescapable. For a low-budget film, it's a slight shift that feels successful.

That timeless cinematic feel is enhanced with the use of practical effects throughout the film. While used sparingly, they're nice to see with movies drowning unnecessarily in visual effects these days. They also play perfectly into the aforementioned campy nature, which only gets amplified in the final act. This is undoubtedly one more aspect that will be compared with 'The Substance': their climaxes. However, without spoiling anything, they are two different beasts (quite literally), and both equally enjoyable for their own reasons.

'Shell' certainly has a tough exterior, with its messaging barely penetrating past skin deep. That's a shame because what it has to say about the disposability of talented women in Hollywood and the oversaturation and indoctrination of the beauty and wellness industry is vital, and it would have been poignant if it had been handled more tactfully. Still, it's a rollickingly enjoyable ride with enough laughs and gore, plus effortlessly clever performances from Elisabeth Moss and Kate Hudson to make it worth your time.

The 'Shell' competition has now closed. Winners will be announced shortly. Check our Comps page for all a list of our winners.

Competition opens at 5:00pm AEDT on Tuesday 21st October 2025 and closes at 11:59 pm AEDT on Tuesday 28th October 2025. Seven winners will be chosen at random on Wednesday 29th October 2025. To successfully win, entrants must fulfil the above entry conditions before the time the competition closes. Current members/followers are eligible to enter the competition. Only one entry per person. Only one winner per household. To be a valid winner, the entrant must not have won a prize from SWITCH within the last 28 days. Each winner will receive one double pass to 'Shell'. By entering, you agree to receive occasional emails from SWITCH in the future. If you decide to unsubscribe from these updates, any further entries will not be applicable. Only Australian residents are eligible to enter.