As a seasoned film critic who’s seen more than my fair share of psychological horror films, I must say that “Smile 2” is a rollercoaster ride that’s as unsettling as it is visually stunning. The film’s exploration of mental instability and the blurred lines between reality and hallucination resonated deeply with me, given my own experiences with anxiety disorders.
Parker Finn’s 2022 film debut, titled “Smile“, bears a clear resemblance to classic chain-possession horror movies such as “The Ring” and “It Follows“. In these films, a deadly curse is passed from one victim to another, with the tormented main character attempting to break free. While it shares similarities with its predecessors, “Smile” was successful due to the unique style and persistent tension brought by its writer-director, as well as the chilling ordinary method of transmission – a wide, menacing grin. The movie was made for around $17 million and earned over $200 million globally, ensuring a follow-up would be produced.
In the second act, Smile, Sosie Bacon’s character as a psychiatrist is replaced by Naomi Scott‘s Skye Riley, a worldwide pop sensation struggling with past trauma that the sinister force can exploit. This change swaps a protagonist whose professional background and personal turmoil provided some understanding of her confused state to a character resembling Katy Perry and Lady Gaga combined, who is so emotionally fragile she seldom stays composed. Despite the film’s well-performed scenes packed with frightening jump scares and gory spectacles, it leans towards excessive, bold elements rather than maintaining restraint. The movie, which acknowledges a special effect for “monstrosity,” certainly aims for anything but understatement.
Initial viewers are highly likely to return for future showings, providing Paramount an early advantage at the Halloween box office. If Smile 2 turns out to be another success, it’s quite possible that the series will carry on, given its cliffhanger ending suggesting a broader spread of the contagion.
Six days following the occurrences of the initial movie, we find Finn with the storyline unfolding. In this scenario, kind-hearted police officer Joel (Kyle Gallner) is stationary in his vehicle, gripped by fear, having suffered repercussions for assisting his distressed former lover. Eager to handle the curse judiciously, he dons a mask and strategizes an attack on the residence of two lethal drug dealers, planning to eliminate one while compelling the other to witness. His intention is to then solidify the second brother’s doom by adopting a cheerful demeanor.
In simple terms, the plan reaches its southernmost point in the untitled opening scene, which is unfortunate for Lewis (Lukas Gage), the minor drug dealer who stumbles into the turmoil. The dark humor that pervades the story is underscored by the sight of a deceased individual’s remains, whose body parts are splattered across the road in – you correctly guessed it – a grin shape.
In the interim, Skye is gearing up for her return after spending a year out of the limelight following a severe car accident that claimed the life of her actor boyfriend Paul (Ray Nicholson). Scandalous pictures of her in the grip of alcohol and cocaine have been widely published by tabloids, but she’s now sober and set to embark on a significant tour, commencing in New York City. She grants her first public interview since the accident on The Drew Barrymore Show, with the host appearing only slightly awkward while portraying herself.
Driven by her manager mother Elizabeth (Rosemarie DeWitt) and catered to by her devoted assistant Joshua (Miles Gutierrez-Riley), Skye immerses herself in rehearsals. However, the strenuous dance routines exacerbate an old back injury from a car accident, which she chooses to hide. In desperation for relief, she reaches out to her former drug supplier, Lewis – an old schoolmate who happens to be high on cocaine and suffering from paranoid hallucinations when Skye arrives. The scene that unfolds is harrowing, leaving Skye without any painkillers but with a renewed sense of discomfort.
In this movie, the art of filmmaking significantly improves upon the previous film, “Smile.” Cinematographer Charlie Sarroff skillfully employs disconcerting camera angles and mirror shots, and once again inverts the screen as Skye’s mental state deteriorates. The cinematography bears a touch of De Palma, with its ominous lighting and chilling, speeded-up close-ups when she encounters threatening visions of both unfamiliar faces and people she recognizes, their features distorted by the Joker-like grin.
Dan Kenyon’s intricate sound design plays a crucial role, frequently merging the boundaries between environmental sounds and Cristobal Tapia de Veer’s spine-tingling music, featuring creaks, rattles, and grating industrial tones, heavily emphasizing distortion.
Scott skillfully demonstrates how Skye’s fear intertwines with her remorse for the people she harmed during her substance abuse struggles. This internal struggle, in turn, drives Skye to persist in meeting her professional commitments such as photo shoots, sound checks, costume fittings, and additional rehearsals.
Even with Skye’s increasing episodes of breakdowns, Elizabeth insists that Skye adheres to the schedule, emphasizing that the record company, led by Darius (Raúl Castillo), has put millions into the tour. “It’s crucial you stay hydrated,” Elizabeth frequently advises her, creating a comical ongoing reference to Voss water as Skye drinks numerous bottles of it throughout.
A memorable early moment showcases a fan encounter, where Joshua navigates a throng of excited supporters, granting autographs and photos to each individually. At first, Skye is friendly and tolerant with them, but things take a turn when an overzealous admirer disturbs her peace. This isn’t the last time she crosses paths with him, at least in her thoughts. Shortly after regaining control of the situation, a young girl with pigtails steps forward, revealing a chilling grin that torments Skye in both her nightmares and daily life.
As the narrative unfolds, the blurred line between reality and intense illusions proves to be a vulnerability, despite some breathtaking scenes where illusion takes center stage.
One noteworthy instance stands out where Skye encounters a surprising scene: the performers from her own show gathered at her apartment’s entrance, smirking suggestively. Every time she turns to confirm it’s merely her imagination playing tricks, they inch closer, perching on furniture and scaling walls like mischievous Fosse dance troupe members possessed. As they approach her, their actions mirror the aggressive undertones of the routines we witnessed during rehearsals.
At another event titled “Music Inspires Hope,” a fundraiser for disadvantaged young people, Darius managed to convince Skye to present. Despite being recently traumatized and wanting to withdraw, she couldn’t. When the teleprompter malfunctioned during the gala, Skye improvised her speech, which turned out to be anything but uplifting as she spoke candidly about the harsh realities of the music industry. To add to the tension, her deceased boyfriend mysteriously appeared, grinning widely and unsettling everyone further.
Skye finds momentary solace as she mends her strong friendship with Gemma (Dylan Gelula). Her quirky responses to shocking truths (“Eww”) leave you wanting to see more of her. Later, mysterious messages arrive from someone who appears to understand Skye’s situation well. This person turns out to be Morris (Peter Jacobson), who possesses detailed insights about the parasitic spirit and a hypothesis on how to eliminate it.
In the scene where Skye hesitates before eventually consenting to Morris’ risky procedure, Finn struggles to maintain the storytelling flow. The movie fluctuates between reality and illusion, mirroring Skye’s state of mind. However, as these transitions occur more frequently and are accompanied by escalating graphic violence, it becomes harder for viewers to stay engaged.
Although Scott always keeps audiences captivated, a well-known, wealthy pop star might not be as relatable as the film’s first installment’s down-to-earth therapist. The original Smile had a solid framework due to the race against time for her character to comprehend and conquer her affliction. In contrast, Skye is already in a state of distress when she experiences her fateful encounter. Watching an unstable protagonist be overwhelmed by fear in a world that seems surreal is less engaging than following one who’s fighting for her life.
In the sequel, as it delves deeper into Grand Guignol horror in Skye’s greatest test, it shifts from being chilling to feeling distant instead. The aspects that made “Smile” unsettling lose their impact as they are replaced by bloody spectacle, and the original concept becomes more convoluted as the movie extends beyond the two-hour limit.
In a second instance, Finn showcases his exceptional visual flair as a director, skillfully handling his cast members. However, it seems he might benefit from dialing back slightly, avoiding the misguided belief that more means better, and instead placing more emphasis on his storytelling abilities. Nonetheless, the freedom with which he approaches his work is commendable, ensuring that horror enthusiasts will undoubtedly be left with wide grins by the sequel.
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2024-10-16 16:25