"Smile" Movie Review

As we reflect on the horror genre of the 2010s, we recognize its association with trauma metaphors, akin to how the '80s are synonymous with slasher films. Paramount's new wide-release horror movie, "Smile," fits seamlessly into this trend, carrying forward the theme of PTSD-induced terror. What sets this film apart is the monster itself, which is not merely a metaphor but a literal entity that feeds on and spreads through trauma, although the movie remains intentionally ambiguous about its true nature.

Dr. Rose Cotter (played by Sosie Bacon) is haunted by a vague presence throughout "Smile." This entity has a particular taste for individuals who have witnessed gruesome and bloody suicides involving garden shears, oncoming trains, and shattered ceramics. When Rose encounters Laura (Caitlin Stasey), a terrified PhD student who believes she is being pursued by this malevolent force after witnessing her professor's self-inflicted demise, the story takes a dark turn. In a chilling opening scene, Laura turns to Rose with a twisted grin before taking her own life.

Rose, already burdened by the lingering trauma of her mother's suicide, finds herself deeply disturbed by these events. The film intelligently explores the themes of enduring trauma and the accompanying stigmas and fears. Rose's fiancé, Trevor (Jessie T. Usher), admits to researching inherited mental illnesses online, while derogatory terms like "nutjobs" and "crazies" are used to describe the mentally ill throughout the narrative. Rose grapples with the possibility that her own hallucinations, lost time, and emotional volatility may stem from internal causes rather than an external curse. This internal struggle becomes more concerning to her than the concept of being plagued by the same entity that claimed Laura's life.

In a surprising turn, the only person who believes Rose is her ex, Joel (Kyle Gallner), a police officer assigned to Laura's case. Their tentative reunion unveils the mystery element of the film, driving much of its 115-minute runtime. "Smile" follows the familiar beats of a supernatural horror-mystery, escalating from online research to face-to-face interviews with traumatized survivors of the entity's malevolence. A brief mention of similar events in Brazil hints at the possibility of a sequel.

The greatest strength of "Smile" lies in its unrelenting and oppressive atmosphere. The film spares no one, including children and pets, and the horror elements are as bloody and disturbing as the dark themes they represent. Sosie Bacon's portrayal of Rose adds to this unsettling ambiance, capturing her vulnerability and fragility. Her performance showcases moments of desperation, such as when she vehemently insists, "I am not crazy!" before sinking into remorse and self-doubt. In quieter moments, like her wan smile at her nephew's birthday party, viewers are confronted with both the grim contrast to the victims' sick grins before death (hence the film's title) and relatable instances of navigating social gatherings during depressive episodes.

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However, despite the compelling lead performance and strong craftsmanship behind the camera, "Smile" falls short in terms of originality. Director Parker Finn, making his debut as a writer and director for a feature-length film, expands on his award-winning short from SXSW 2020. While impressive to secure a wide-release from Paramount within two years, especially during a pandemic, "Smile" relies too heavily on formulaic mystery plotting and borrows horror themes and imagery from popular films like "The Ring" and "It Follows." The influence of David Robert Mitchell's "It Follows," combined with its exploration of trauma, diminishes the impact of the film, preventing it from breaking new ground. Nevertheless, "Smile" establishes Parker Finn as a capable horror director, showcasing his ability to create elegant jump scares and evoke a sense of unease in viewers as they leave the theater—both assets for a film of this nature. However, those expecting a wholly original horror experience should temper their expectations.