“Shell“: A Campy Dive into Body Horror and Satire

Toronto, Canada – The 2024 Toronto International Film Festival has unveiled a new entry that has sparked conversations, albeit not all positive. “Shell,” directed by Max Minghella, attempts to blend elements of body horror and satire but struggles to find its footing amidst a crowded cinematic landscape. Set to hit select theaters on October 3, 2025, the film has drawn comparisons to Coralie Fargeat’s “The Substance,” which tackles similar themes with greater success.

A Misguided Attempt at Camp

“Shell” opens with a striking visual: a blood-smeared lap dog scurrying through a dimly lit mansion. This unsettling image sets the tone for a film that aims for camp but often falls short. The film’s protagonist, Samantha, played by Elisabeth Moss, is introduced in a surreal scene where she finds herself in a bathtub filled with blood, a moment that is both grotesque and darkly humorous. However, as the narrative unfolds, the film’s attempts at humor and horror become muddled.

Minghella’s vision seems to oscillate between a homage to 1950s rubber-suit monster movies and a critique of Hollywood’s obsession with youth and beauty. Yet, the film fails to fully commit to either direction. While there are moments of unintentional comedy, the satire often feels clumsy and derivative, echoing points made in more successful films.

The Plot: A Satirical Take on Hollywood

The story follows Samantha, a struggling actress who is sent to the Shell clinic by her agents after losing a role to a younger, more popular actress, Chloe Benson (played by Kaia Gerber). The Shell clinic, run by the enigmatic CEO Zoe Shannon (Kate Hudson), offers a bizarre solution to the fear of aging: a procedure that fuses patients’ DNA with that of lobsters, promising a younger, more attractive version of themselves.

This premise, while intriguing, is not explored with the depth it deserves. The film’s satire on Hollywood’s superficiality is evident, but it often feels like a rehash of familiar tropes. The clinic’s procedures are reminiscent of the dark humor found in films like “Death Becomes Her” and “The Lobster,” yet “Shell” lacks the sharpness and wit that made those films memorable.

Aesthetic Choices and Thematic Inconsistencies

Visually, “Shell” draws inspiration from the 1980s, featuring vibrant colors and retro aesthetics. However, the film’s heightened reality lacks coherence. For instance, self-driving cars populate the background, seemingly included to bolster its sci-fi credentials without serving a narrative purpose. This inconsistency extends to the film’s character dynamics, particularly the relationship between Samantha and Zoe, which hints at a deeper subtext that remains underdeveloped.

Moss delivers a commendable performance, embodying the everywoman struggling against a world obsessed with perfection. Yet, her character feels out of place in a film that oscillates between horror and comedy. Hudson, on the other hand, embraces her role as the chilling antagonist, portraying Zoe with a blend of charm and menace. However, the film’s attempts to create a complex villain fall flat, leaving viewers wanting more depth.

The Body Horror Element: A Missed Opportunity

While “Shell” aspires to be a body horror film, it does not fully embrace the genre’s potential. Moments of grotesque imagery, such as Samantha’s vomiting of black bile and the appearance of “scales” after her procedure, are not executed with the necessary intensity. The film hints at deeper themes of identity and transformation but fails to explore them meaningfully. Instead, it settles for surface-level shock value, which ultimately detracts from its impact.

The film’s body horror elements could have served as a powerful commentary on societal pressures regarding beauty and aging. However, the execution feels half-hearted, leaving audiences with a sense of unfulfilled potential.

Conclusion: A Campy Misfire

In summary, “Shell” is a film that grapples with ambitious themes but struggles to deliver a cohesive narrative. While it offers moments of dark humor and striking visuals, the overall execution leaves much to be desired. The film’s attempts at satire and body horror often feel disjointed, resulting in a viewing experience that is more perplexing than engaging.

As it prepares for its theatrical release, “Shell” may find its audience among those who appreciate campy horror. However, it remains to be seen whether it can carve out a lasting place in the cinematic landscape. For now, it stands as a reminder that even the most intriguing concepts can falter without a strong execution.