Six days have passed since the chilling finale of writer-director Parker Finn’s Smile, and Joel (Kyle Gallner) is frantically trying to escape the sinister forces closing in on him. After investigating a string of interconnected victims, each of whom killed themselves in gruesome fashion, he knows the only way out of the loop is by passing the curse on—by killing someone in front of a witness. Thanks to his police access, he’s found the perfect lowlifes deserving of such a fate and is ready to dole out karmic justice, moral consequences be damned. Things don’t exactly go as planned and the curse instead lands in the lap of low-rent drug dealer Lewis, played with fiery, cracked-out intensity by Lukas Gage. He wastes no time handing the curse off to client and pop-superstar Skye Riley (Naomi Scott) on the precipice of greatness. Soon, she’s haunted by diabolical smiling faces – as well as the public. Her big comeback tour, meant to mark her recovery from addiction and personal tragedy, derails as she unravels under the grin of her supernatural oppressor. The recovering pop star’s descent into madness is exacerbated by the expectations of her fans, the relentless pressure from her team to continue performing, and the watchdog gaze of the media—all of whom seem to be waiting for her to slip up and fall apart. And they don’t even know about the whole demonic possession thing. Read More
‘SMILE’ Curses Audience With a Bloody Good Time
Grin and Bear It
For those who have experienced it, trauma becomes a dormant passenger. Quietly lurking, but always there behind the curtain. A pile of kindling awaiting a match. In Parker Finn’s supernatural-psychological horror movie Smile, trauma manifests as a suicide curse. When a therapist’s patients brutally kills herself in front of her, Dr. Rose Cotter (Sosie Bacon) becomes the latest victim in a trauma cycle where a compulsion to commit suicide is passed on like a baton. In the world of Smile, if you watch someone kill themselves in spectacularly horrific fashion, you become doomed to die next.
‘SCREAM’ Takes a Stab at “Requels” with Deadly Precision
Scream is back. And with a new Ghostface (or two) comes a biting deconstruction of not just the long-standing slasher franchise, or the nature of “requels” (a term coined in this very film), or the horror genre in general, but the movie industry writ large. Many films of recent years have tried to capture the imagination of audiences by commentating on their own storied legacy – most recently with both The Matrix: Resurrections and Spider-Man: No Way Home – but none have done it with quite as sharp a wit or a curvaceous a blade as the most recent Scream. Tapping into the meta repartee that franchise architect Wes Craven approached the material with from the very get go, this fifth installment of the 90s-born slasher whodunnit is as razor-sharp and bloody glorious as ever. Most importantly, it’s just a hell of a lot of fun. Read More
NIGHTSTREAM 2020: ‘DINNER IN AMERICA’ Is An Aggressive Outsider Love Story That’s Punk As F*ck
Before punk officially died, it traversed the Midwestern suburbs. Rebellious teenagers found solace in the head-banging misanthropy of the music, what with its promotion of anti-establishment ideals and the “fuck you mom and dad” messages raging through boomboxes nationwide. Patty (Emily Skeggs) isn’t what you would traditionally call “rebellious” but the punk lives within her. Gangly, geeky and clumsy, she moshes quietly in her room. Patty squirrels this part of herself away from her ultra-square conservative family but when convict punk-rocker Simon (Kyle Gallner) bursts into her life like the Kool-Aid Man, everything changes. Read More