Director Parker Finn’s effort to innovate isn’t exactly successful, but it reveals the rookie’s skill.
In this story, psychiatrist Rose Cotter finds herself haunted by an evil presence after witnessing the suicide of a patient who was in an apparent psychotic state. Prior to the incident, the patient insisted on saying that she did not suffer from hallucinations, but was haunted by something unknown since she witnessed another suicide a week earlier. The pattern is quite clear, following in the footsteps of a rhythmic and also contagious curse, Parker Finn’s debut film is simple in its beginnings and also in the way it works. However, there is still something missing to be particular, that is, to be own.
In this film, Sosie Bacon, an actress who became known for her recent work in Mare of Easttown, gets her first major role on the big screen playing Rose, and her performance is one of the things that prevent Smile from declining in itself. Alongside the first-time director, Bacon is able to translate the feeling of haunting perfectly, also because Finn has the ability to create an unreliable atmosphere, full of somewhat strange and enigmatic sequences, which seek to convey a horror. Smile, then try to maintain a panic atmosphere at all times, and maybe this idea could even have worked well if the film hadn’t had a long duration and a plot that we already know from other productions.
There’s nothing wrong with following a few methods in a genre so steeped in good traditions. However, the lack of creativity in Sorria is evident. As Rose declines into an isolated psychotic journey, following terrifying events and figures that no one else can see, Smile traces an already well-known current that starts from disbelief, assaults and investigation. In the last chance that director Finn has to innovate, the outcome of Sorria delivers his greatest frustration, ending a cyclical course of mode…. let’s say .like this. ..ungrateful.
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What saves this film is Finn’s willingness to use all the resources he has to create something unique. His unusual camera movements – whether in upside-down shots or in the eccentric approach to his characters – are well done in creating the look of a nightmare. It’s a treacherous track in relation to the script (also by Finn), but there’s something satisfying about seeing a new director always wanting to make his mark. It may even be a rather lukewarm start to a career, but it may have established a promising name in this genre.
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