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‘Smile’ – Six Things We Learned from the Blu-ray’s Commentary Track

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The 'Smile' Trailer Is Finally Here and Taunts, "You're Going to Die!"

Smile is a true rags-to-riches story of indie filmmaking. Parker Finn‘s short, Laura Hasn’t Slept, premiered at SXSW, where it won the Special Jury Award and caught the attention of Paramount. They developed it as a feature with the intention of going straight to streaming, but test screening reactions were so strong that they pivoted to a theatrical release. It went on to become the highest grossing horror film of the year with over $200 million worldwide.

The movie’s home video release includes an audio commentary by Finn (complete with commentary subtitles!), among other extras. The first-time filmmaker discusses his intentions behind several creative choices, from storytelling to camera movement.

Here are six things I learned from the Smile commentary….


1. Caitlin Stasey reprises her role from the short

Smile trailer

Laura, the PhD student that passes the curse to protagonist Rose Cotter early in the film, is played by Caitlin Stasey, who starred in Laura Hasn’t Slept (which is also included on the disc). While not a remake or a direct continuation, Finn designed it to be a parallel that “would go in a very different direction than the short.”

The experience that Laura describes also foreshadows everything that Rose will go through over the course of the movie. The entire scene – a complicated sequence with emotional performances, technical camerawork, and special effects – was shot in a single day.


2. The title drop had to be altered to avoid causing seizures

The aforementioned Rose/Laura scene concludes with a complex shot that moves from Laura’s dead body to Rose before pushing into her pupil, culminating with the title flashing on screen accompanied by discordant music – occurring 13 minutes into the movie. “I personally love a delayed titled title drop in a film, and it felt like a perfect opportunity to pull one of these off,” notes Finn.

“I had always known I wanted to do something that was incredibly anxiety-inducing for the title drop,” he continues. It had to be recalibrated several times after discovering the original version failed the Harding test, meaning that it could trigger photosensitive people and potentially induce seizures. Finn is “very pleased with the end result.”


3. None of the smiles in the film are digitally enhanced

All the creepy smiles throughout the film are entirely performance-based without any digital augmentation, as Finn smartly believed that keeping them natural would make them scarier.

“The studio asked early on whether or not we wanted to use visual effects to enhance the smiles,” he reveals. “But to me it was really important that they play as grounded. I thought they would be much creepier, honestly much more intense if it was just a human performance. And it also allowed us to get different nuances between all the different smiles that appear in the film, which I love.”


4. Smiles are hidden throughout the movie

Finn and production designer Lester Cohen took joy in planting smiles throughout the film. The camera lingers on some – like the sign at the model train shop and the pain chart at the hospital – while others are more subtle. For example, Rose’s husband’s contact photo that shows up when they first text has a natural, closed-mouth smile then changes to a toothy grin when seen later in the film.


5. Rose’s “last chance” to survive is reflected in the production design

After discovering that she could save herself from the curse by killing someone else, Rose returns to her apartment. The camera angle reveals a piece of mail that says “Last Chance” beside the doorway. This was an intentional bit of production design to correspond with Rose’s ultimatum.


6. The monster was nicknamed Lollipop

The entity that takes people over, hauntingly revealed in the film’s final moments, was lovingly referred to as Lollipop by the cast and crew. This ties into The Chordettes’s “Lollipop” playing over the end credits, creating a tonal whiplash from the downer ending.


Smile is available now on 4K Ultra HD, Blu-ray, DVD, and Digital via Paramount.

Smile Blu-ray

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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