Demi Moore made the most of time in the UK with a string of glitzy outings, after jetting to London to attend the British Academy Film Awards on Sunday.

The American actress, 62, missed out on the Leading Actress gong at the ceremony, but still ensured she tested the UK’s nightlife with her pals.

In an Instagram album posted by her stylist on Thursday, one snap showed Demi posing under a ‘congratulations’ banner after being welcomed with the decorations upon her arrival in London.

Other snaps showed Demi’s jaw-dropping Alexander McQueen gown that she wore on the red carpet. 

Demi then switched up her look for a black mini dress with a matching blazer as she headed to the Netflix after party following the ceremony.

Adding inches to her statuesque frame, the movie producer slipped into a pair of towering black shiny heels. 

Demi Moore, 62, made the most of time in the UK with a string of glitzy outings, after jetting to London to attend the British Academy Film Awards on Sunday 

To accessorise, she finished her glamorous look with a sparkly colourful clutch and a pair of dangly diamond earrings.

In another snap, an excited Demi beamed as her stylist took a fun selfie in the lift while heading to the BAFTAs red carpet.

As she left the H๏τel, her stylist also captioned the elegant design of the back of her gown as she walked through the hallways of her swanky H๏τel.

The album of glitzy moments was captioned: ‘London calling GB’.

Demi, who picked up her first acting accolade ever at the Globes for her role in Substance, was nominated for Leading Actress along with Wicked’s Cynthia Erivo, 38, and Saoirse Ronan, 30, for the Outrun.

The Substance takes a very graphic approach to speaking truth to power as it tells the story of Elisabeth Sparkle (Demi), a famed aerobics instructor with a televised show.

Unceremoniously sacked as she hits her 50th birthday, Elisabeth discovers a black-market drug which can create a ‘younger, more beautiful, more perfect’ version of its user.

The drug’s strict conditions are gruesome however, and Elisabeth’s need for youth to sustain her career talks directly to Hollywood’s abandoning of actresses as they age. 

The actress appeared in a gallery of snaps posted by her stylist, including one from her night out at the Netflix after party following the ceremony

In another snap, an excited Demi beamed as her stylist took a fun selfie in the lift while heading to the BAFTAs red carpet 

As she left the H๏τel, her stylist also captioned the elegant design of the back of her Alexander McQueen gown as she walked through the hallways of her swanky H๏τel

Read More Leading Actress favourite Demi Moore, 62, looks sensational as she arrives at the 2025 BAFTAs

But it’s The Substance’s ‘deliciously unhinged and dread-inducing’ levels of gore that have really commanded the critics’ attention, with one describing it as ‘a shocking ᴀssault on the senses’.

The film sees Elisabeth dealt a devastating blow on her birthday when she is fired by ruthless executive, played by Dennis Quaid.

Feeling rejected by a town that once loved her and despairing over her bygone star power, Elisabeth learns from a handsome young nurse about a black-market drug that promises to turn the user into a ‘younger, more beautiful, more perfect’ version of them self. 

Though Elisabeth initially tosses the phone number in the bin, she soon fishes it out in a desperate panic and places an order.

The one rule to follow is that Elisabeth and her better self Sue (Margaret Qualley) must trade places every seven days. 

So for one week at a time, she is forced again to live as her 50-year-old self. 

But the allure of youth and a made-for-TV ʙuтт proves too strong to resist that she tests the boundaries to see what the worst that can happen is if she squeezes an extra day or two in.

The Evening Standard’s Nick Howells described it as the ‘best and maddest film of the year so far’ as he gave it five stars. 

‘Caveat: as long as you like a full portion of body horror and are happy to be spattered head to toe in blood and mutant body parts,’ he wrote.

The Substance: The critics’ thoughts 

Evening Standard

Nick Howells writes: ‘The Substance is the best and maddest film of the year (so far). Caveat: as long as you like a full portion of body horror and are happy to be spattered head to toe in blood and mutant body parts.

‘It all climaxes way beyond where you could dare imagine it might end, in a riotously hilarious torrent of blood the likes of which you might never have witnessed before.

‘A sledgehammer parable for the Ozempic generation, The Substance, with all confidence, is an instant classic.’

The Independent

Clarisse Loughrey writes: ‘The Substance’s final stretch descends into a full-blown, blood-fountain homage to gross-out cult classics like Brian Yuzna’s 1989 horror film Society. 

‘It turns the body into a public spectacle and invites the audience in, a little too eagerly, to gawk at what has elsewhere been presented as such intimate, secret disgust. 

Daily Mail  

Brian Viner writes: ‘There’s plenty of popping in The Substance. Popping, in fact, might be the least of it, alongside snapping, bursting, oozing and squelching, in a grotesque body-horror satire that isn’t for the squeamish but might be for the ticklish, if you can find the funny side.

‘Yet for all its dystopian grisliness, Oscar Wilde would have recognised this story, which echoes The Picture Of Dorian Gray, but of course has particular resonance in today’s looks-obsessed society.’

Financial Times

Danny Leigh writes: ‘The longer the movie plays, the more you find other flaws. How gross beauty standards are, we are told, while for reasons that would be a spoiler, also being invited to shudder at elderly women’s bodies.

‘A satire of the male gaze this filled with young women twerking, they said, can look a lot like what it is meant to be satirising.’

AP

Krysta Fauria writes: ‘The film’s deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.’

‘What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie.’

RTE 

Bren Murphy writes: ‘Coralie Fargeat, the French director of 2017’s powerfully violent Revenge, returns with The Substance, and when it comes to delivering more shocking visceral images with a message, she’s not holding back.

‘Darkly funny, intense, and extremely graphic, this is a shocking ᴀssault on the senses, in a good way – on second thoughts, in a masterful way.’