Another day, another double feature, this time of a movie that came out a couple of years ago but which I'm just now getting around to seeing and its newly-released sequel. How were they? Read on...
Smile (2022)
Rated R for strong violent content and grisly images, and language
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Score: 3 out of 5
Smile is a good movie, but one that I feel like I should've liked a lot more given how much it had been hyped up. It felt bloated in a lot of ways, and while it tried to tell a story about a woman who's never gotten over the childhood trauma caused by her terrible mother, it never gave that story the attention it needed, to the point that its focus in the third act felt almost like it came out of nowhere. That said, it's also a clear-cut example of how rock-solid technical craftsmanship can salvage a movie from an otherwise bad script. It's dripping in atmosphere and mood, it's filled with unsettling imagery and scary moments, it manages to create a feeling that one is slowly going insane, and the cast is excellent, particularly Sosie Bacon as its haunted heroine. It's a movie that other people seem to have liked a lot more than I did, but even with its problems, it was still enjoyable, a film that, even if it never quite manages to capture the depth of the "elevated horror" films it's clearly imitating, still manages to be a scary ride that nails their aesthetics, tone, and frights.
The film starts with Rose Cotter, a therapist at a psychiatric hospital, watching a patient named Laura Weaver freak out in front of her, talking about being stalked by a malevolent entity, before slitting her own throat. The scariest part: after the freakout, Laura suddenly developed a gigantic smile on her face that she held until the moment she died. What's more, Laura, a promising graduate student, had no history of mental health problems until about a week ago when she watched her professor kill himself right in front of her. And now, Rose is suddenly seeing the same entity that Laura described. Doing some digging with her detective ex-boyfriend Joel, Rose finds that Laura was just the latest in a chain of mysterious suicides that, as she soon realizes, are the result of a curse, one that is now coming for her.
Notice how nowhere in that plot description did I mention Rose's mother. The opening scene is a flashback to Rose as a young girl watching her mother, who had been an abusive, mentally ill drug addict, dying of an overdose, and the third act especially tries to bring Rose's relationship with her mother to the forefront of the story. And yet, from my perspective it felt far more minor than the film seemed to think it was. There's a message board I frequent where we have a running joke about a cliché that we've seen come up in a lot of modern horror movies: "TROWmah", the cause of all the protagonists' problems turning out to be trauma buried in their backstories, usually related to their families. There have been a lot of horror movies in the last ten years like The Babadook and Hereditary that have done this kind of drama well, but there are also many lesser films that have fumbled such, and this is one of the latter, feeling like it shoehorned in a traumatic backstory for Rose simply because that's what modern supernatural horror movies do. For much of the film, Rose's mother barely figures into the events. We're told by Laura that the entity stalking her can take the form of anyone, including people who have died, but only towards the end does it take the form of Rose's mother. The final confrontation taking place at Rose's dilapidated childhood home, her metaphorically confronting all of her bottled-up feelings about her mother, was visually exciting but felt unearned as a result.
The worst part is that there was a far better movie sitting right there under the surface, one that could've used the entity as a metaphor for a completely different problem in Rose's life that the first two acts do, in fact, very much establish. We're shown throughout the film that Rose is a workaholic, clocking in 70-hour weeks at the hospital, being nagged by her sister Holly because she's willing to miss her nephew's birthday to work weekends, and slowly driving away her fiancé Trevor and her family. Instead of childhood family trauma, this movie would've worked a lot better if the entity/curse had been a metaphor for Rose's adult trauma, specifically that of an overworked white-collar professional who has sacrificed everything for a career that doesn't love her back, subjecting her to the sight of one of her patients committing suicide right in front of her (which caused the curse to target her in the first place). Even the film's title would've lent itself to such a story, about somebody who has to show up for work every day and put on a happy face for the people whose mental health problems she's trying to heal even though she herself is crumbling inside, the sad kind of phony smile juxtaposed with the scary ones she encounters throughout the film. It's a story that anyone who feels worn down by their job could've related to, especially health care workers whose job description involves occasionally watching people die and having no way to save them (which, in 2022, would've been especially timely), and more importantly, it would've fit what this movie established about Rose a lot better than the story it did tell. When the time came for Rose to exorcise her demons both personal and literal, it shouldn't have been about learning to put her mother behind her even though the film was barely about her mother before then, it should've been about finding some work/life balance. I wonder if there were some major rewrites on this movie, or if it was a consequence of writer/director Parker Finn trying to stretch his 11-minute short film Laura Hasn't Slept out to feature length, because its attempts at exploring Rose's personal problems felt incoherent.
Fortunately, unlike Night Swim, another recent horror movie adapted from a short film, this manages to still be an effective horror movie in spite of itself thanks to Finn proving to be a better director than he is a writer. It's mostly supernatural horror boilerplate, but it's done well, with a mix of tried-and-true jump scares and deeper, more unsettling chills as Rose and the viewer are both thrust into scenarios where something is just wrong and we can't trust anything we see. While its attempts to tie Rose's problems to her childhood trauma fell flat, it did otherwise succeed in putting me in the headspace of somebody who's slowly going mad with nobody to help her, as with the exception of Joel, nearly everybody in her life abandons her in her darkest hour. As a metaphor for mental illness, it was chilling, and Sosie Bacon pulls off an incredible performance as Rose here, one that I can see taking her places in the future as more than just "Kevin Bacon and Kyra Sedgwick's daughter." Kyle Gallner, meanwhile, makes for a likable male lead as Joel, the only person who seems to believe Rose even despite their history together as he, in his capacity as a detective, uncovers the truth about what is happening to her. Finally, Rob Morgan only appears in a single scene scene as the one person who managed to beat the curse, at considerable cost to not only his psyche but also his physical circumstances, but his performance, clearly terrified of the entity and everything it represents, was enough on its own to considerably up the stakes for Rose in her journey.
And as for scares, this movie's got 'em. Again, there's not a lot here that's new, but this movie plays the hits well, not just with the obvious jump scares but also with the setup for them. We get moments where we just know that something is watching Rose from just off camera and are eagerly waiting for her to turn around and see it, a scene where Rose is with her therapist (more or less remade from the original short film) that establishes that she's not safe even with people she thinks she can trust, and plenty of other scenes that lend to the film's oppressive atmosphere, in which we feel that we're starting to lose our minds as much as Rose is. Towards the end, when the scares shift to Rose facing the entity head-on, it is represented as a genuinely chilling monster brought to life by some grotesque creature effects. The entity is a hell of a monster, used only sparingly but looking downright horrifying when it does show up. Between the scares, the perpetually gray New Jersey setting, and Rose's slide into what looks like madness, this movie carries a bleak, nihilistic tone all the way to the finish line, and refused to pull its punches.
The Bottom Line
Even with its derivative nature and bad script, Smile demonstrates how a horror movie can succeed purely on the strength of its direction, which manages to make the most of what it's given and deliver an effective little chiller.
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And now, for the sequel...
Smile 2 (2024)
Rated R for strong bloody violent content, grisly images, language throughout and drug use
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Score: 5 out of 5
Smile 2 is the movie that the first Smile should've been. The scares are bigger, badder, and more effective, the central story is better written and more focused even as it dives much deeper into the idea that we can't trust what we're seeing on screen, the direction is far more stylish, kinetic, and exciting, and it's all anchored by what ought to be a career-making performance by Naomi Scott. The funny thing is, not only was this written and directed by the same guy who did the first movie, Parker Finn, but on the surface the two films hit most of the same story beats, and yet this sequel pulls them off far more effectively. It feels like Finn went back and took a close look at the first movie to see what worked and what didn't, and made a sequel that fixed all of its biggest problems while still keeping everything enjoyable about it, its more glamorous protagonist and setting doing nothing to detract from how raw it felt and in some ways making it feel even more intense. Even though, just from the premise and how the first movie played out, I was able to figure out exactly how this one was gonna end well in advance, that simply had me anticipating something grand rather than feeling like I'd spoiled the movie for myself. It's everything a great horror sequel should be, and a film that will probably make my list of the best films of 2024.
(Also, spoilers for the first Smile. You have been warned.)
The film starts right where its predecessor left off, to the point of opening with a "six days later" tag without any context, as if to say "hey, you've seen the first one, we don't need to tell you what's going on here." Joel, who at the end of the first movie became the new bearer of the curse after a possessed Rose killed herself in front of him, decides to kill two birds with one stone: not only pass on the curse, but pass it on to a genuine scumbag in the form of a murderous drug dealer by killing one of his fellow crooks right in front of him. The whole thing goes horribly wrong and ends with both Joel and the criminal dead, but he did manage to pass on the curse to one Lewis Fregoli, a guy who was at the dealer's place at the time to score some drugs. Lewis is himself a dealer -- and more specifically, the dealer for Skye Riley, a Grammy-winning pop superstar with a long history of substance abuse issues, including a pill addiction that she developed after being badly injured in a car accident that killed her actor boyfriend Paul Hudson and left her with scars and chronic pain ever since. A week later, when Skye goes to Lewis to score some Vicodin, a deranged Lewis kills himself right in front of her and makes her the entity's new target.
Unlike the first film, where the source of Rose's trauma felt like something that was tacked on to the point of becoming an unwelcome distraction, this one always knows exactly what Skye's problems are: addiction and the perils of stardom. Skye's life is miserable behind the scenes, in many ways because she's a rich and famous celebrity. She has a drug problem, she has body image issues, she has to deal with stalkers, her schedule is micromanaged by her momager Elizabeth, her relationship with her fellow celebrity Paul is shown to have been a mutually destructive one before he died, she has to watch her every move lest she face the wrath of a ravenous tabloid press, and the entity preys on all of this. If this movie has an overarching message, it's that fame and fortune are not worth it (with a side of "drugs are bad, m'kay?"), with the entity's torment of Skye framed from start to finish as a classic celebrity meltdown straight out of TMZ or Perez Hilton. She snaps at her mother and her assistants as she suspects the entity lurking everywhere around her, fan meet-and-greets and charity events turn into living nightmares as she veers wildly off-script, her dressing room is trashed, and in the third act, she gets sent to spend a night in a rehab center before her big concert. While Skye's fashions may have been inspired by Lady Gaga, her behavior will be unsettlingly familiar to anybody who remembers the 2000s and how celebrities like Britney Spears, Lindsay Lohan, and Paris Hilton were covered.
And they found an outstanding talent to convey this meltdown in the form of Naomi Scott. At every step of Skye's journey, I fully bought into Scott as a pop diva on the edge of a complete breakdown, to the point that the film barely even needed to show any supernatural occurrences in order to convey that she was not well. Much like last time, this movie is at its best when it's putting us in the shoes of somebody who feels like she's going insane, and just like Sosie Bacon, it wouldn't have worked without Scott. She had to do a lot of heavy lifting here in terms of acting and emotion, and she made it look easy. What's more, I didn't just buy Scott as a troubled heroine, I bought her as a pop star. Lots of movies about pop music feel as though they were made by people who are clueless about the genre, often settling into tired tropes while the music they have their main characters perform is often insipid garbage that would flop like Katy Perry or Justin Timberlake's last couple of albums if they tried to release it in real life. Here, however, I came away with the impression that, in another life, Scott (who has a background as a singer, including in the Disney Channel movie Lemonade Mouth and in the live-action version of Aladdin) could've become a pop star instead of an actress. There are multiple scenes dedicated just to Skye's music, all of it performed by Scott herself, and it is legitimately good, as are the performances she puts on at multiple points in the film, where she feels like she has the kind of star power that pop careers are made of. This is the kind of larger-than-life performance that makes stars out of actors, and while it's long been a cliché to say that horror never gets recognition from "professional" critics or award shows, I hope to the heavens that this isn't the case here, and that Scott gets some juicy roles after this.
The fact that the film's story was so on point in what it was satirizing and commenting on is all the more remarkable given how much more it leans into the idea that we can't trust what we're seeing on screen. Building on the first film having a protagonist who increasingly could not trust her own senses as the entity caused her to hallucinate, it's strongly hinted that many scenes in this movie, even outside of its more overt horror sequences, are not happening precisely as Skye and the viewers are perceiving them. I don't want to give much more away than that, but I can say that, once it became clear(ish) what was actually happening and what the entity was doing to Skye, I had to reevaluate large chunks of the wild events that took place before then. Amidst all the creeping dread, effective jump scares, shockingly potent gore effects, and the possibility that anybody around Skye might be the entity, this was the part of the film that freaked me out the most. Behind the camera, Parker Finn also shot the hell out of this, taking full advantage of the bigger budget to go wild with far more kinetic and stylish camera work. This was a damn fine-looking movie to watch, making use of long one-shot takes, sweeping shots, horror sequences that felt like the creepiest music videos this side of late-night '90s MTV (especially one bit in Skye's apartment that calls back to a scene of a dance rehearsal earlier in the film), and simply a level of production polish that indicates that everybody involved knew what they were doing and acted accordingly. It all builds to a hell of a climax that I saw coming the moment I learned this movie's premise, but which felt like exactly how it needed to go -- and which set up one hell of a Smile 3.
The Bottom Line
Smile 2 is a dream sequel, a movie that fixes every problem I had with its predecessor, keeps what worked about it, and ultimately winds up as one of the best movies of the year. Not much more to say than that. If you're even remotely in the mood for something scary this Halloween (or, frankly, at any other time of year), this should be near the top of your list of movies to watch.
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