'Smile 2' Nicely Targets Pop Star Fame with the Terrific Naomi Scott

This image released by Paramount Pictures shows Naomi Scott in a scene from "Smile 2." (Paramount Pictures via AP)
This image released by Paramount Pictures shows Naomi Scott in a scene from "Smile 2." (Paramount Pictures via AP)
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'Smile 2' Nicely Targets Pop Star Fame with the Terrific Naomi Scott

This image released by Paramount Pictures shows Naomi Scott in a scene from "Smile 2." (Paramount Pictures via AP)
This image released by Paramount Pictures shows Naomi Scott in a scene from "Smile 2." (Paramount Pictures via AP)

In an early scene in “Smile 2,” the fictional pop superstar Skye Riley is in her drug dealer's apartment. “Do you believe in weird stuff?” he asks her, between doing lines of coke.
You certainly will after this horror romp — writer-director Parker Finn's second movie that suddenly opens up the franchise with the promises of multiple directions in the future. Not for that drug dealer, though: He soon smiles at her demonically as he repeatedly slams a 35-pound gym weight into his head, making it hamburger, The Associated Press said.
“Smile 2” lands as unsettling grins are plastered on pumpkins and politicians alike as we approach Halloween and Election Day, and the psychotic, overly made-up leads of “Joker: Folie à Deux” have been putting up a brave face at their terrible box-office numbers.
So it's the perfect time for a sequel to 2020's “Smile,” which bridged the gap between elevated art horror and straight-out, unapologetic slasher. Finn this time takes on fame, a better tonal fit than the generational trauma of the first. It's a meditation on breakdowns in the public eye, with a side dish of body horror.
We start six days after the last movie but they are barely connected — a single character for a few minutes — as we watch a demon that forces its victims to smile before meeting a gruesome end working its way into the low-level drug game.
The evil entity will eventually glom onto our heroine, Skye, a fictional Grammy-winning pop superstar akin to if Lady Gaga and Miley Cyrus had a baby. We meet her a year after a horrific car crash she was in that killed her famous boyfriend and left her with a Vicodin addiction and rumors about whether she had anything to do with it. That drug dealer has now infected Skye, but she has no idea what's in store (or in score, the terrific work of Cristobal Tapia de Veer).
One thing to really beam about is leading lady Naomi Scott going for it all-out, all snot, smeared blood and wide-eyed, full on-fear. Scott manages to pour her humanity into the part — diva, whimpering, defiant, strung out, panicked. She even sings on the soundtrack — songs that are credible hits.
The smile demon collides with Skye as she's about to launch a comeback tour and the pressure is on. Finn is at his best here, mocking confessional TV interviews — a Drew Barrymore cameo, a nice touch — full of self-work and apologies: “I let you down and I promise this will never happen again.” Her management demands that she show up “smile and read from the teleprompter.” Skye's mom — on the payroll — is little help: “You need to stay hydrated,” she tells her after Skye is clearly in torment.
Finn has become a much more assured filmmaker and uses humor so well here, from nasty gangsters enjoying pumpkin Frappuccinos to our heroine Googling “Does vomit have DNA?” He's still fond of jump-scares and blood spurting and gross-out tricks, like a body dragged by a truck until it's just a smear with entrails. One delightful moment has Skye chased by demonic backup dancers, a Bob Fosse-meets-"Thriller" sequence.
Finn also has a ball putting his heroines into cringe-worthy situations. In the first movie, a murdered cat got bundled into a kid’s birthday present. In this one, it's a impromptu speech in front of music industry types that goes horrifically off the rails. He's got a deeper target: How do we quiet those voices in our heads that say we're no good?
Finn's script sometime lags as he searches for an ending for “Smile 2,” seemingly in two minds, before basically delivering both, kicking up dream sequences and alternate timelines like a squid pumping out ink to cover its tracks. Over two hours ends up being too long.
But he has found a great satirical target, given life to a third film easily and showcased another rising star to watch. That's a reason to, well, smile about.
“Smile 2,” a Paramount Pictures release that lands in movie theaters on Friday, is rated R for “strong bloody violent content, grisly images, language throughout and drug use.” Running time: 127 minutes. Three stars out of four.



‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
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‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a “Saturday Night Live” origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

“Terrifier 3,” a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with $18.3 million, according to estimates Sunday. The film, a sequel to 2022’s “Terrifier 2” ($15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That “Terrifier 3” could notably overperform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of “Joker: Folie à Deux.” After Todd Phillips’ “Joker” sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a “D” CinemaScore from audiences), the Warner Bros. release fell a staggering 81% in its second weekend, bringing in just $7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like “The Marvels,” “The Flash” and “Shazam Fury of the Gods” all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusual for a follow-up to a massive hit like 2019’s “Joker.” That film, also from Phillips and Phoenix, grossed more than $1 billion worldwide against a $60 million budget.

The sequel was pricier, costing about $200 million to make. That means “Joker: Folie à Deux” is headed for certain box-office disaster. Globally, it’s collected $165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago: Would ‘Terrifier 3’ be the number one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The “Joker” slide allowed “The Wild Robot,” the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with $13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to $83.7 million domestically and $148 million worldwide.

The young Donald Trump film “The Apprentice,” distributed by Briarcliff Entertainment in 1,740 theaters, opened in a distant 10th place, managing a paltry $1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. “The Apprentice,” starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. “The Apprentice” will depend on continued awards conversation for Strong and Stan to make a significant mark in theaters before voters turn out at the polls.

Jason Reitman’s “Saturday Night” failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected $3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

“Piece by Piece,” a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor?”), opened with $3.8 million from 1,865 theaters.

But the debut for “Piece By Piece,” while low for a Lego animated movie, was very high for a documentary. “Piece By Piece,” which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc — if “Piece By Piece” can be called that.

“We Live in Time,” the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theater averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with $255,911 and a $51,000 per-screen average.

Outside of the success of Warner Bros.’ “Beetlejuice Beetlejuice” (which pulled in $7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like “Terrifier 3,” continues to be one good bet in theaters, but this autumn has been mostly characterized by bombs like “Joker: Folie à Deux” and “Megalopolis.”

This time last year, Taylor Swift was giving the box office a massive lift with “The Eras Tour.” This weekend compared with the same time last year was down 45% according to Comscore.