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Psychological Horror Smile: Review
Dr. Rose Cotter begins experiencing terrifying paranormal phenomena after witnessing a baffling and tragic event involving a patient. In order to live and get away from her horrible new world, Rose must to face her troubled past.
“Smile” is a constantly gloomy, well-crafted horror film whose scares only add to the cleverness of its idea, which is to transform the universally recognised expression of happiness into a horrible rictus of misery.
Rose (Sosie Bacon), a young clinical psychiatrist, is sympathetic since she saw her mother’s suicide when she was a child. Consequently, Rose feels sympathetic with Caitlin Stasey’s hysterical patient who claims to be haunted by a violent, shape-shifting monster and that this apparition first came when she saw a friend savagely kill himself. The events that follow are so terrifying that they will shake Rose and those closest to her to their cores.
Rose is becoming more and more certain that she, too, is going to die in some horrific manner due to her recurring nightmares, traumatic flashbacks, and inability to keep track of time. Her sister (Gillian Zinser), fiancé (Jessie T. Usher), and worried boss (Kal Penn) all assume she has suffered some kind of mental trauma. Her ex-boyfriend (Kyle Gallner) is the only police detective who is prepared to assist her look for other people who may have had a similar experience. even more importantly, they managed to stay alive.
“Smile” adopts a cliched horror-movie premise in its thematic usage of unresolved pain and, most notably, its portrayal of death as a type of contagious sickness spread from one person to another. Previous examples include “The Ring” (2002), which focused on a videotape, and “One Missed Call,” which focused on a smartphone (2005). However, in this case, death is meted out only by seeing an act; in this respect, “It Follows” by David Robert Mitchell may be the film’s closest relative (2015). As opposed to the film, in which the evil virus spread by sexual contact, this one uses suicide, and the bloodier the better.
Though it’s an expansion of Parker Finn’s 2020 short film “Laura Hasn’t Slept,” his first movie doesn’t seem like a rerun. The inclusion of the standard helpless pet reads more as a knowing nod to the viewer than a lazy crib. Tom Woodruff Jr.’s ingenious practical effects and Charlie Sarroff’s skewed camera angles give the jump scares an unsettlingly realistic feel. Bacon’s acting, both unsteady and resolute, ensures that the very real suffering of mental illness and its stigmatisation register as vividly as any supernatural torment, and an odd colour palette provides a dolorous tone without being suffocatingly dark. The smiles in “Smile” are like unstoppable gushing wounds, much as the emotional harm they symbolise.
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