Spoilers will keep a straight face.

To be honest, I ruled out this film when it came out. It felt derivative, but at the same time I was curious. Now with the trailer for the second installment, my curiosity peaked again. I do think the first film works best if you keep your expectations low. That being said, this feels now like a solid first chapter that is not exceptional but still a better start than a lot of other horror concepts get.

(Credit: Paramount Players)

Smile (2022) is written and directed by Parker Finn. Rose Cotter (Sosie Bacon) is a therapist at the psychiatric ward of the local hospital. One day, she is asked to diagnose a young woman called Laura Weaver (Caitlin Stasey) who is a student that has just witnessed a professor committing suicide in front of her. As she describes her experience, she is startled by something only herself can see. As Rose turns to call for help, she becomes silent. When Rose turns again she finds Laura smiling eerily back as she takes slashes her own throat.

Rose, a mental healthcare professional, chooses to ignore her own signs as she herself starts hallucinating and her perception of reality warps. As she alienates those close to her, she starts isolating herself from being helped. In classic horror trope fashion, she requests the help of her former boyfriend Joel (Kyle Gallner) who just happens to be a cop. As movie cops do, he not only helps her but shares actual police evidence with Rose. Obviously some liberties have been made in the name of dramatic license.

It works but feels like a extension of a short story (which it is). The production values are adequate for its length, but the concept slowly starts to grow thin just before we get into exposition mode. Now there is a big plus to be found in the acknowledgement of mental illness and trauma, even if it does veer into the supernatural. The cinematography is decent without being groundbreaking, and Sosie Bacon does sell her role as Rose as she goes from disturbed to unhinged.

Strongly recommended with reservations. The concept is well executed although with some familiarities to the parasitic horror subgenre that are recognizable. It also follows somewhat the stages of grief in non-linear fashion, although that might just be incidental to the storytelling. Very much worth a watch, although without taking it too seriously.

That will do for now.