'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.



‘Game of Thrones’ Dragon-Forged Iron Throne Fetches Nearly $1.5 Million at Auction

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
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‘Game of Thrones’ Dragon-Forged Iron Throne Fetches Nearly $1.5 Million at Auction

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)
The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. (Heritage Auctions)

"Game of Thrones" fans came out in droves to bid on hundreds of costumes, props and other items from the series in an auction that raked in over $21 million.

From Thursday through Saturday, the Heritage Auctions event in Dallas featured over 900 lots including suits of armor, swords and weapons, jewelry and several other items of significance from the HBO series.

The top-dollar item was the very thing the characters in the series vied for throughout its eight-season run: the Iron Throne. After a six-minute bidding war, the throne sold for $1.49 million.

The replica was made of plastic and molded from the original screen-used version, then finished off with metallic paint and jewel embellishments. In the series, the throne was forged with dragon breath that melted the swords of a thousand vanquished challengers and became a symbol of the struggle for power throughout the show's run.

Heritage Auctions said in a statement Sunday that the event brought in $21.1 million from more than 4,500 bidders. The auction marked Heritage’s second-best entertainment event, just shy of the record set by a Debbie Reynolds sale it held in 2011.

Heritage Executive Vice President Joe Maddalena said in a statement he knew the auction would resonate.

"These are extraordinary treasures made by Emmy-winning costume designers and prop makers, who worked tirelessly to adapt George R.R. Martin’s wonderful novels," Maddalena said. "People wanted a piece of that ‘Game of Thrones’ magic."

Beyond the coveted Iron Throne, over 30 other lots commanded six-figure price tags.

Jon Snow’s signature sword, Longclaw, wielded onscreen by Kit Harington, sold for $400,000 and his night's watch ensemble, featuring a heavy cape, went for $337,500. Both items kicked off prolonged bidding wars.

Starting bids ranged from $500 to $20,000, but several items went for thousands of dollars more. Such was the case for several cloaks and dresses worn by Emilia Clarke as Daenerys Targaryen and Lena Headey as Cersei Lannister.

A gray suede ensemble worn by Daenerys sold for $112,500, exactly $100,000 over its starting bid, and the red velvet dress Cersei wears in her final appearance on the show went for $137,500, which was $122,500 over its starting bid.

Suits of armor also proved popular, especially when they included sought-after weapons. Jaime Lannister’s black-leather armor ensemble fetched $275,000 and his Kingsguard armor — including his iconic Oathkeeper longsword — went for $212,500. Queensguard armor worn by the character Gregor "The Mountain" Clegane sold for $212,500.

In an interview when the auction was announced in September, Jay Roewe, HBO’s senior vice president of global incentives and production planning, said the sale speaks to the series' staying power five years after its finale.

"‘Game of Thrones’ was a zeitgeist moment in our culture. It was a zeitgeist moment in high-end television. It was a zeitgeist moment in terms of HBO," he said. "It’s impacted the culture."