Après avoir été témoin d'un incident étrange et traumatisant impliquant un patient, la Dr Rose Cotter commence à vivre des événements effrayants. Rose doit affronter son passé pour échapper ... Tout lireAprès avoir été témoin d'un incident étrange et traumatisant impliquant un patient, la Dr Rose Cotter commence à vivre des événements effrayants. Rose doit affronter son passé pour échapper à cette réalité.Après avoir été témoin d'un incident étrange et traumatisant impliquant un patient, la Dr Rose Cotter commence à vivre des événements effrayants. Rose doit affronter son passé pour échapper à cette réalité.
- Prix
- 3 victoires et 22 nominations au total
- Nurse Wanda
- (as Ura Yoana Sanchez)
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The story is a bit cliche at some points, but it is well written and well made most of the time. The acting is great as well, which is not always a common thing when it comes to horror movies. It is very well directed and the atmosphere is really eerie.
The first girl to die in the movie probably had the most unpleasent smile I have seen in maybe my whole life. Especially when the therapist started seeing her in the darkness as an hallucination. That really gave me the chills. Then there were some smiles that was not very scary, like the patient Carl. The pacing of the movie was excellent. It got more and more creepy as the story progressed. The ending really etched into my brain, and I actually thought I was gonna have nightmares that night, which does not happen to me very often. The day after I saw this movie, a car passed me by, and the old man driving looked at me and smiled... The only thing I could think about was this movie.
This was Parker Finn's first feature film. I really hope he makes more films like this one. A good start on his writing/directing career. Well done!
Example, the main character will be staring down a dark hallway while the music tenses and camera slowly zooms in, and then the phone will ring SO LOUD. This is NOT a scare! This is just lazy and, above all, annoying. These "jump scares" happen throughout the ENTIRE movie and are extremely obnoxious. I can respect jump scares if there's actually something scary at the end of the build-up, not just an obnoxiously loud noise that has nothing to do with the tension that was just wasted. An example of an ACTUAL jump scare would be like when the Lipstick Demon appears at the table for the first time in 'Insidious'. THAT is a warranted jump scare.
The plot of 'Smile' and the way the characters unravel it is almost identical to 'The Ring'. No new ground is broken, which was expected, but I at least expected a little more originality than a copy/paste story of 'The Ring' with a good amount of 'It Follows' copied as well, yet is far less than both those movies.
What I thought was pretty good was the ending, when the demon finally reveals itself. The design of the demon and what it does to its victims is actually pretty great/gruesome. Unfortunately, by the time we're introduced to the Smile demon, the movie's over. Such a shame, as this movie could have been a balls-to-the-wall nail-biting chiller. The score for this movie was hands-down the best and creepiest part. The music reminded me of 'Sinister's music, as in there was something off about it, making it unnerving.
Overall, this movie has been done before and done MUCH better. Has it's moments, but drags on without any scares for far too long.
6/10.
An unnerving horror, Parker Finn's 'Smile' is a creepy examination of the lingering effects of trauma. Finn's narrative contends that trauma effects every aspect of one's life, and can be passed onto others through one's actions. Although comparisons to David Robert Mitchell's 'It Follows' are inevitable, Parker's handling of the film's thesis feels fresh and innovative. Traumatic effects- such as hallucinations, paranoia and guilt- are interwoven cleverly into Finn's narrative, adding to the psychological horror therein.
The film is suspenseful, having a heady atmosphere of dread throughout. Although the ending is underwhelming, the journey there is an engaging, sinister one. Finn makes excellent use of jump-scares- which often feel like a cheap way to make viewers jolt. They don't here, as they intensify the paranoid state Rose is in. His characterisation is strong, as is his dialogue, and we believe and sympathise with Rose; even if we're unsure whether or not we can trust her version of reality. Culturally relevant and unsettling, Finn's film makes for a wild and devilish ride.
For a horror to be successful, good sound design is necessary; Finn's sound department have created an immersive and disquieting environment of terror. Cristobal Tapia de Veer's score adds to the discomforting atmosphere, becoming chaotically dissonant as Rose descends further into paranoid fear. Reminiscent at times of Dario Argento and Goblin's score for 'Suspiria,' Tapia de Veer's work enhances the film's impact immensely.
Similarly, Charlie Sarroff's unconventional cinematography heightens the picture's uneasy ambiance. Distinct and creative, his utilisation of low angles, handheld shots and zooms fosters a sense of unpredictable instability. Under Finn's direction, his implementation of lighting creates contrast and mood, while his composition of images also adds to the film's horror. He uses symmetry, asymmetry and negative space to create imbalance, tension and emptiness; depending on the needs of the scene. Striking and memorable, Sarroff's work is captivatingly disturbing.
Furthermore, Lester Cohen's minimalist production design creates a stark, cold world for Rose to navigate. Cohen uses simple, sparse sets and props to create a sense of realism, emptiness and isolation. Moreover, Alexis Forte's costume design adds to the film's horror, as her use of colours, fabrics and differing styles creates contrast, character and symbolism. Additionally, the picture is well edited by Elliot Greenberg, whose work gives 'Smile' a rapid, tense pace that vastly intensifies proceedings.
Sosie Bacon stars as Rose, delivering an impassioned, nuanced performance, acutely showing Rose's psychological disintegration. Feverish and powerful, Bacon's work is not to be forgotten. Alongside her, Kyle Gallner plays Jake, a cop who is Rose's ex-boyfriend, and the only one who believes her story. A steady presence throughout, Gallner does fine work in a role lesser actors would have overplayed. Robin Weigert and Gillian Zinser- as Rose's psychiatrist and sister, respectively- both impress with their range and ability, while Caitlin Stasey is terrific in the all too small role of Laura; portraying her immense fear astutely.
An entertaining, tense horror about the devastating effects of trauma, Parker Finn's directorial debut 'Smile' lingers in the mind long after the credits have rolled. Boasting an engaging narrative dealing maturely with its themes, an atmospheric score and striking production design, it is a riveting watch. Although the ending is anticlimactic, the compelling performances from the cast- especially Sosie Bacon- keep you on the edge of your seat throughout. Creepily captivating, this film will surely not leave you with a frown.
I was proved wrong.
From the very start, everything from the directing, performances to the cinematography and sound design were absolute stunning. How a low budget managed this feat was beyond me but the film was simply mesmerizing to look at.
The horror was quite effective with jumpscares and dreadful moments, albeit some cheap ones but not that distracting. They were able to build up the tension so well and never intended to tone it down right till the very end. The plot was simple enough to interlink all relevant characters to make me care about them, although some could complain 90% of the characters were just filler and I might agree with that. However, the protagonist was good enough to carry the whole show.
One thing that may not sit well with a lot of audience was the use of mental illness. Smile handled it decently but don't expect Oscar worthy exposition. And no, it wasn't exactly the main theme so try not to quit halfway through because there would be surprises by the last act of the film.
Give it a go. I'd say it was well worth the time for horror fans like myself. This was not just some Annabelle or Insidious sequels but something more.
Le saviez-vous
- AnecdotesA couple of days before the September 30, 2022 release, actors from the film showed up at various baseball games, sitting behind home plate dead still and smiling while staring into the camera, unmoving despite fans in the audience being understandably concerned, while wearing Smile shirts. Another soon appeared in the background with the crowd during the Today show.
- GaffesAt approximately 31 min in, Rose breaks a glass when her alarm goes off. When the glass is shown at her feet she is wearing socks. A few seconds later as she is checking the door she is wearing lace-up shoes. Based on what happens later at a party later, there are several continuity issues that may not be "mistakes" but may actually be deliberate in order to show "breaks" in Rose's consciousness/sanity.
- Citations
Laura Weaver: It's smiling at me. But not a friendly smile. It's the worst smile I've ever seen in my life. And whenever I see it, I just get this god-awful feeling like something really terrible is going to happen. I've never felt scared like I do when I see it.
- Générique farfeluThe Paramount opening and closing logos have a curved line in the form of a smile at the base of the mountain
- ConnexionsFeatured in Chris Stuckmann Movie Reviews: Smile (2022)
- Bandes originalesLollipop
Written by Julius E. Dixson Sr. (as Julius Dixon) & Beverly Ross
Performed by The Chordettes
Courtesy of Barnaby Records, Inc.
By arrangement with Ace Music Services LLC
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- How long is Smile?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- Smile
- Lieux de tournage
- North Arlington, New Jersey, États-Unis(Arlington Diner exterior)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 17 000 000 $ US (estimation)
- Brut – États-Unis et Canada
- 105 935 048 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 22 609 925 $ US
- 2 oct. 2022
- Brut – à l'échelle mondiale
- 217 408 513 $ US
- Durée1 heure 55 minutes
- Couleur
- Rapport de forme
- 2.00 : 1