Smile 2 (2024) Review
Parker Finn’s feature debut ‘Smile’ was a tense horror that made commentary about the devastating effects of trauma. Featuring striking visuals and production design, alongside an atmospheric score, the film was both compelling and creepy, following a psychiatrist who becomes convinced an unseen entity is stalking her after witnessing a violent incident. Boasting a strong central performance from Sosie Bacon, ‘Smile’ performed well at the box office, taking in $217.4 million on a $17 million budget.
Although critical opinion was mixed, only months after its release, Finn was thinking about a sequel, noting “there is still a lot of interesting stuff to explore in the world of Smile…” Fast forward two years, and ‘Smile 2’ is upon us. This time around, the action follows pop singer Skye Riley, who starts experiencing increasingly disturbing events on the cusp of a world tour. Forced to face her dark past, can Skye regain control of her life before it spirals out of control?
‘Smile 2’ is a very rare beast: a sequel that is arguably better than its predecessor. As in the first, the theme of trauma is cleverly interwoven into the narrative, alongside which themes of control, psychosis, grief and addiction are made the lynchpins upon which the horror revolves. Riley must battle both her internal demons as well as the ‘smile creature,’ never sure what is reality or fantasy. This makes for both a compelling and unpredictable ride, as Finn, making excellent use of both visual and audio jump-scares, takes one into the grinning heart of terror.
Menace lurks in the corner of every frame, waiting to give you a sharp shock. From the brilliantly frenetic opening to the barnstormer of an ending, the film fires on all cylinders, never letting up. Finn’s characterisation is astute, and his narrative surprisingly funny; it’s a horror with pitch-black comedy at its core: in contrast to the overwhelming bleakness of its predecessor; ‘Smile 2’ has a bit more to offer viewers.
The film reunites Finn with the majority of the crew from the original, including cinematographer Charlie Sonoff. His work on the first film created an unnerving atmosphere of unpredictable instability; as it does once again. Sarnoff’s use of lighting effectively generates contrast and mood, while his framing of images heightens the narrative’s suspense. Similarly, he captures Riley’s performances with aplomb, lending them authenticity. Although the camera might be flipped upside-down to create an ominous effect one too many times, overall, Sarnoff’s stellar work compounds the impact of proceedings; and is creepily captivating.
Moreover, Cristobal Tapia de Veer’s score generates a disturbing ambience, imbuing the film with a raw, horrific power. While the songs written for the Riley character are fairly generic, they are performed well (and are considerably better than the similar tunes written for the Lady Raven character in M. Night Shyamalan’s recent ‘Trap’).
Lester Cohen’s detailed production adds an element of realism, grounding the film despite the fantastical horror of its narrative. In addition, Alexis Forte’s costume design effectively contributes to the personalities of the characters, particularly Riley’s. Her work for Riley’s on-stage costumes is particularly impressive. Furthermore, Elliot Greenberg’s editing establishes for the film a steady pace, meaning- even at over two hours- it never drags.
Naomi Scott stars as Riley, delivering a powerful, compelling performance that is the stand-out of her career thus far- as well as, perhaps, the stand-out of the year. Scott portrays Riley’s multifaceted, flawed personality with nuance, realistically capturing her internal struggles, adding depth to the character. Scott’s portrayal of Riley’s fear and resilience in the face of mounting horrors is both believable and gripping. An immensely versatile talent, Scott has all the qualities of a great scream queen, as well as brilliant comedic-timing and a strong singing voice. She is- to put it simply- absolutely terrific.
Her supporting cast don’t let her down. Rosemarie DeWitt does stellar work as Riley’s mother and manager Elizabeth, bringing complexity to the role. Dylan Gelula is commendable as Gemma, Riley’s best friend, while Lukas Gage and Ray Nicholson both impress as Lewis, her drug dealer, and Paul, her ex-boyfriend, respectfully. In addition, Kyle Gallner briefly reprises his role as Joel from the first film, doing great work, and Iván Carlo is fantastically creepy as Riley’s number-one-fan (somewhat comically named ‘man with bad skin’).
In conclusion, Parker Finn’s ‘Smile 2’ is an improvement over its predecessor in nearly every regard. Both frightening and fun, the narrative engages and exhilarates, while Finn’s characterisation is impactful. Boasting atmospheric sound design and cinematography, as well as fastidious editing from Elliot Greenberg; it is hard to fault. Moreover, star Naomi Scott is marvellous and her co-stars don’t disappoint. In short, ‘Smile 2’ is sure to leave you grinning.