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HomeentertainmentMovie News'Smile' review: Socie Bacon starred in truly terrifying horror debut

'Smile' review: Socie Bacon starred in truly terrifying horror debut

Parker Finn Disturbing debut Smile turns a friendly gesture into a threat. The smile—warm and seductive in nature—masks a deeper, more disturbing intent in this harrowing film about a demonic spirit that seizes on the trauma of its victims. The adage about smiling in tough times has a sinister tone here.

Dr. Rose Cutter (Sosie Bacon), an affable clinical psychiatrist who has nothing to do with it Know when she meets Laura Weaver (Caitlin Stacy), a graduate student who recently witnessed a horrific suicide. The two meet in the examination room of a quirky emergency room mental hospital. (The hallway walls are painted bubblegum pink; the exam room has blue and yellow accents.) As they sat down to talk, Laura hurriedly recounted how her professor had beaten herself to death with a big stick in front of her, and she Seeing the smiles on the faces of strangers and loved ones is unforgettable, the sinking sense of her impending death.


Bottom line Disturbing experience.

Release Date: September, Friday
Cast: Suzy Bacon, Jesse T. Ya Ser, Kyle Garner,

Robin Weigert , Caitlin Stacy and 30 Carl Payne , Rob Morgan Director and screenwriter: Parkfin

Rated R, 1 hour 55 minute

Rose nodded understandingly at the information, but Laura knew the doctor wasn’t there. listen. She’s forming a diagnosis, looking for professional language to rationalize her new patient’s apparent fears. Suddenly, Laura is muted by an invisible entity. The frenzy evoked by the young woman’s pleading gave way to a disturbing silence. Laura grabbed a shard of a broken ceramic vase and cut open her flesh. The camera (director of photography Charlie Sarov) doesn’t flinch from the suicide, it’s Ross’s creepy scream; it moves in, meditating steadily on the torn skin.

Smile is full of grim scenes like these, these disturbing ones as you follow Ross’s story Scenarios can make you feel uneasy, panic, and at times even laboriously take risks. The film uses the same supernatural and psychic traditions as The Lord of the Rings , with a passion for creating terrifying killings and creating a threatening mood. Lester Cohen’s production design is marked by carefully crafted austerity, creating scenes of silence waiting to be disturbed. Meanwhile, Cristobal Tapia de Veer’s soundtrack spreads throughout the narrative, adding depth to the already terrifying sound of the flesh – teeth gnashing at nails, breathing difficulties, bones breaking.

When Rose starts going through the same thing as Laura’s hallucinations, she chalks it up to exhaustion and past trauma. She has always been good at dividing up her life, leaving painful memories behind. But the more she saw the angular smile (the one plastered all over the film’s promotional material), the harder it was to ignore what was happening to her.

Finn and Sarov use whimsical visual language to portray Ross’ heightened mental state and growing insecurities. The upside-down shots, quick flashes that translate into eye tricks, and a penchant for close-ups keep us firmly in Ross’ perspective. The film never relaxes anxiety, using the nauseating, heart-pounding sensation of an anxiety spiral to sustain the audience.

Smile The script, written by Finn, portrays Rose confidently, but not when it comes to her fiancé Trey Other characters, such as Jesse T. Usher, have not shown the same assurance. Supporting galleries struggle to shed their utilitarian impressions. Then there’s the reliance on pop psychology — lines picked directly from social media posts to diagnose mediocre habits as traumatic reactions — that make Rose and her patients or Rose and her own therapist (Robin Wegt) the scene is unbelievable.

As Ross becomes more and more desperate, some of these designs are negligible. Bacon subtly changes the character before us: the once poised, level-headed doctor gradually emerges with the gravity of her situation. She tries to explain her experience to Trevor and her sister Holly (Gillian Sinther), and tries to get a prescription for anxiety medication from her therapist, who makes her feel comfortable with the nature of the trauma cliche.

Rose realizes that the only person she can turn to is her ex-boyfriend Joel (Kyle Garner), a cop who happens to be the only one she feels vulnerable to People. The duo conducted a special investigation into the causes of these visions, trying to figure out if anyone had survived being possessed by this vague, traumatic spirit. Their journey makes up much of the second act, which loosens and loosens an otherwise tense story.

Although it hovers in predictable territory, Smile could easily be entrusted to a growing body of contemporary exploration Trauma; cliches about hurting others hurting others and healing the inner child sometimes take center stage here. But the film also teases a more interesting fact about the efforts people go to to stay away from mental disorders or perceived instability.

Rose, like Laura before her, insists she’s not crazy. The term she refuses to load, along with its metonymy, is thrown around many times. But when she tries to confide in her loved ones, they avoid her reality and instead try to label her experiences with familiar labels. Her boss (Kal Penn) has shrewd words about mental health and employee happiness, her fiancé is grimly wondering what it means for his life, and her sister compares Rose to their mother, who also suffers mentally ill and committed suicide. They don’t listen anymore and therefore don’t see Rose anymore – leaving her alone with her demons.

55 Full Credits 55

Publisher: Paramount Pictures Production Company: Paramount Pictures, Temple Hill Entertainment
Cast: Sosie Bacon, Jessie T. Usher, Kyle Gallner, Robin Weigert, Caitlin Stasey and Kal Penn, Rob Morgan
Director and Screenwriter: Parker Finn Producers: Marty Bowen, Wyck Godfrey, Isaac Klausner, Robert Salerno
Executive Producer: Adam Fishbach 55Director of Photography: Charlie Sarroff

Production Designer: Lester Cohen
Costume designer: Alexis Forte

Editor: Elliott Greenberg
Composer: Cristobal Tapia de Veer

Casting Director: Monica Mickelson
) Rated R, 1 hour 55 minute 30 THR Newsletter 55

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