Parker Finn
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Connections, in both directions
A film that shows its influence, Smile recalls The Ring in its loose “seven days to live” concept, and It Follows insofar of its personification of the abstract as an invisible virus that spreads through nefarious circumstances.
Frankly, Finn’s screenplay about how a traumatic protagonist deals with an unseen entity is nothing new because it instantly reminds me of David Robert Mitchell’s far superior It Follows (1995) starring Maika Monroe.
In addition, the tone and Larry W. Brown’s art direction have an “Insidious” (2010) meets “It Follows” (2014) vibe, where monstrous acts can appear during daylight hours through ordinary experiences, like a child’s birthday party or a simple living room conversation.
Director Parker Finn must have been heavily influenced by David Robert Mitchell’s 2014 indie smash hit, “It Follows,” because “Smile,” his feature film directorial debut, pays homage to that movie in almost every way.
Seasoned horror fans won’t find very much new here: the chain-letter ghosts of It Follows and The Ring, the inherited-mental-illness-as-demonic-entity of Hereditary, a healthy dollop of the ooey-gooey horror manga of Junji Ito (to say nothing of the music videos of Aphex Twin, whose Richard D. James could probably sue if facial expressions were covered under copyright law).
Smile is director Parker Finn’s first feature film and takes a concept similar to what was seen in It Follows, and tries to amp up the unsettling looks.
Hay algo en ella, estilística y temáticamente, de 'Vox Lux' (2018) y de 'Smile 2' (2024).
From Vox Lux to Trap to Smile 2, this decade has seen a mini-boom in horror (and horror-adjacent) films centered around pop stars.
…films like the Suspiria remake, Trap, Smile 2, A Star is Born and Vox Lux all seem to gain energy from our fascination with women-on-stage in the Taylor Swift/Chappell Roan/Sabrina Carpenter era…
While on the surface the film may appear to be joining the ranks of "Vox Lux," "Trap," and "Smile 2" in its askew look at pop stardom…
“Mother Mary” borrows a lot of elements from other movies: “Black Swan” (2010), “Suspiria” (2019), “Talk to Me” (2022), “Smile 2” (2024).
Smile 2 inventively choosing to rehash the plotline of its first outing with a world-famous pop star falling under the same curse.
…politically incorrect fun of “Terrifier 3,” “Smile,” “M3GAN,” “Get Out,” “Longlegs,” “The Substance” and “Sinners.”
Some of the selected parodies include Scream 5 & 6, I Know What You Did Last Summer, Get Out, Sinners, Smile, Wednesday, M3gan, Longlegs, and KPop Demon Hunters, to name a few.
…with targets including Smile, M3GAN, The Substance, Terrifier, Sinners, Get Out, the recent Scream films and numerous others.
Paramount riding high on Scream and Smile franchises…
“Scary Movie 6” touches on “M3GAN,” “Smile,” “Candyman,” “Longlegs,” “The Substance,” “Sinners,” “Get Out,” “Weapons,” and more…
…some irreverent send-ups of horror flicks including Sinners, Weapons, Get Out, Smile, The Substance, and others.
J-horror, or Japanese horror, impacted the genre on a massive scale after titles such as 1998’s Ring and 2002’s Ju-On: The Grudge haunted audiences.
The films follow the basic idea of Ring (Hideo Nakata, 1998) i.e. there’s a curse which causes you to die horribly in a week unless you do whatever it is you have to do to break that curse.
Si l’influence du maître de l’horreur est manifeste, on peut également rapprocher le long-métrage de It Follows (Mitchell, 2014) par son ambiance vaporeuse et son concept, ou encore du japonais Ring (Nakata, 1998) pour sa malédiction dont les protagonistes cherchent à se débarrasser.
Composer Cristobal Tapia de Veer’s score is occasionally reminiscent of Christopher Young’s work on Sinister , offering skittering and discomforting notes to make the hairs on the back of your neck stand up.
We expected more authorship from a rookie director, something much closer to a Scott Derrickson (Black Phone, Sinister) or Ari Aster (Hereditary, Midsommar) film than to Annabelle so to speak.
In some ways Smile takes after the likes of The Ring, It Follows and even Sinister where our protagonist finds themselves cursed, and need to look for a way to get rid of it.
Remettant à l’honneur une horreur qui évoque aussi bien les ambiances lugubres d’un Sinister (Derrickson, 2012) que les introspections psychologico-horrifiques d’un Roman Polanski (époque Le locataire ), Smile fait vraiment plaisir à voir, en étant à la fois intelligent et diablement efficace.
And though the film takes more than a few pages from early-2000s J-horror, its somber gloss is more reminiscent of that regional boom’s American remakes, such as Gore Verbinski’s The Ring , Jim Sonzero’s Pulse , and Eric Valette’s One Missed Call .
Despite treading a familiar horror movie route — Smile takes its cues from movies like Gore Verbinski’s 2002 The Ring re-make, David Robert Mitchell’s excellent It Follows (2014), and the so-so Truth or Dare (2018) — Finn tries to do more with the feature by tackling the effects of trauma and PTSD, even if these elements could have been fleshed out a little more.
Also, the base story surrounding the curse and its machinations seems right out of The Ring and the Final Destination series.
In addition, the tone and Larry W. Brown’s art direction have an “Insidious” (2010) meets “It Follows” (2014) vibe, where monstrous acts can appear during daylight hours through ordinary experiences, like a child’s birthday party or a simple living room conversation.
Just think of Jack-’o-lanterns and the Joker, or the leer that flashed across the mottled face of Linda Blair’s Regan MacNeil, or the rictus grins in a movie like “Insidious” or the movie that inspired it, the great 1962 low-budget freak-show classic “Carnival of Souls.”
Just think of Jack-’o-lanterns and the Joker, or the leer that flashed across the mottled face of Linda Blair’s Regan MacNeil, or the rictus grins in a movie like “Insidious” or the movie that inspired it, the great 1962 low-budget freak-show classic “Carnival of Souls.”
…prolonged, manic smiles that echo the absolute worst of the likes of Smile, Truth or Dare or The Shining…
…whose creepy grin could star in "Smile"…
…the kind of disturbed precision that joins her with Naomi Scott in Smile 2 and Nell Tiger Free in The First Omen on a very short list of recent horror leads who threw themselves entirely into a role.
I especially enjoy when horror is combined with something like sci-fi, such as the 1979 Alien or the 2022 Nope .
And though the film takes more than a few pages from early-2000s J-horror, its somber gloss is more reminiscent of that regional boom’s American remakes, such as Gore Verbinski’s The Ring , Jim Sonzero’s Pulse , and Eric Valette’s One Missed Call .
You’ll hear many comparisons to genre flicks like It Follows and Smile, but director Adrian Chiarella clearly understands that within his feature debut.
…some viewers will be drawn to make preconceived comparisons to Smile and It Follows.
If you were into the “Smile” franchise, you know how innately terrifying it is.
…the man is staring right into our lead like something out of the Smile films…
And though the film takes more than a few pages from early-2000s J-horror, its somber gloss is more reminiscent of that regional boom’s American remakes, such as Gore Verbinski’s The Ring , Jim Sonzero’s Pulse , and Eric Valette’s One Missed Call .
Smile, the new horror movie by Parker Finn (not to be confused with MIchael Ritchie’s 1975 black comedy of the same name), is essentially a one-trick pony, but it’s a good trick.
(Is it sacrilege to suggest she sometimes has the slightest whiff of Isabelle Adjani’s unhinged “Possession” performance?)
Smile wears its many influences on its sleeve, with moments feeling akin to a Pulp Fiction of horror, borrowing elements and reinventing them for a new, off-putting purpose.
Dirigido por Parker Finn, esta sua primeira longa-metragem e grande aposta da Paramount Pictures para o competitivo mercado do cinema de terror (e 2022 tem-se revelado bem forte nessas forças), é uma consolidação aos seus anteriores e curtos trabalhos (“The Hidebehind” e “Laura Hasn’t Slept”, nesta última resgata a atriz Caitlin Stasey, o qual possui papel-chave na longa’), um sintoma de uma "tendência", estabelecendo a curta-metragem numa espécie de pitch para futuros projetos (aconteceu o mesmo com Andy Muschietti [“Mama”] ou até David F. Sandberg [“Lights Out”], para referir dois casos neste universo de terror).
J-horror, or Japanese horror, impacted the genre on a massive scale after titles such as 1998’s Ring and 2002’s Ju-On: The Grudge haunted audiences.
Un campo abonado anteriormente por cintas tan ingeniosas como Fallen (Gregory Hoblit, 1998) e It Follows (David Robert Mitchell, 2014).