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in-love-with-movies · 3 months

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Smile (2022)

#Smile #filmedit #Sosie Bacon #Kyle Gallner #Caitlin Stasey #Parker Finn #my gifs #horroredit #movie gifs

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horrorwomensource · 5 months

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Sosie Bacon as Dr. Rose Cotter • Smile (2022)

#smile (2022)#smile #smileedit #horroredit #horror #filmedit #dailyflicks #sosie bacon #femalecharacters #userladiesofcinema #rose cotter #gif #films #ours*#by jamie #flashing gif #flashing tw

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zanephillips · 1 year

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SMILE (2022) dir. Parker Finn

#smile #smile movie #smile 2022 #horroredit #filmedit #smileedit #filmgifs #movieedit #moviegifs #cinemapix #dailyflicks #horrorfilmgifs #sosie bacon #movie #horror #gifs #mine #*

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acecroft · 1 year

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SMILE (2022) dir. Parker Finn

#horroredit #filmedit #sosie bacon #smile 2022 #horror movies #moviesedit #mygifs #filmgifs #cinemaspam #useroptional #userstream #moviegifs #cinemapix

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loo-nuh-tik · 1 year

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Smile (2022) dir. Parker Finn

#smile #horroredit #smile movie #kyle gallner #filmedit #psychological horror #sosie bacon #joel #rose cotter #parker finn #horror movies #gifset #loonuhtik

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emilylprentiss · 1 year

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SMILE (2022)

#smile #smile movie #smile film #smile 2022 #horroredit #horrorgifs #horror #sosie bacon #caitlin stasey #13 mins in and this shit is already bananas i love it #horror gifs #blood tw #*mine

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jellymonstergrrrl · 1 year

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Smile (2022) dir. Parker Finn

#smile #horroredit #filmedit #horrorgifs #filmgifs #smileedit #classichorrorblog #userbrittany #horrorfilmgifs #userhorroredits #parker finn #sosie bacon #kyle gallner #caitlin stasey #horror movies #film #jellymonstergrrrl

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brody75 · 1 year

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Smile (2022)

#Smile #horroredit #parker finn #sosie bacon #dora kiss #Caitlin Stasey #Horror Movies #filmedit #horror

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brokehorrorfan · 8 months

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Paramount Scares: Volume One will be released on October 24 via Paramount. The 4K Ultra HD box set collects Rosemary's Baby, Pet Sematary, Crawl, Smile, and a mystery fifth title making its 4K UHD debut.

1968's Rosemary's Baby is written and directed by Roman Polanski, based on Ira Levin’s 1967 novel. Mia Farrow stars with John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, and Ralph Bellamy.

1989's Pet Sematary is based on the 1983 novel by Stephen King, who also penned the script. Mary Lambert (Urban Legends: Bloody Mary) directs. Dale Midkiff, Fred Gwynne, Denise Crosby, Brad Greenquist, and Miko Hughes star.

2019's Crawl is directed by Alexandre Aja (The Hills Have Eyes, High Tension) and written by Michael & Shawn Rasmussen (The Ward). Kaya Scodelario and Barry Pepper star. Sam Raimi produces.

2022's Smile marks the feature debut of writer-director Parker Finn, based on his 2020 short film Laura Hasn’t Slept. Sosie Bacon, Jessie T. Usher, Kyle Gallner, Caitlin Stasey, Kal Penn, and Rob Morgan star.

The limited edition set comes with an special issue of Fangoria magazine, Paramount Scares enamel pin, sticker sheet, and exclusive slipcovers for all five films. Special features are listed below.

Rosemary's Baby special features:

Rosemary’s Baby: A Retrospective

Mia and Roman

Theatrical trailer 50th anniversary trailer

Like most first-time mothers, Rosemary experiences confusion and fear. Her husband, an ambitious but unsuccessful actor, makes a pact with the devil that promises to send his career skyward.

Pet Sematary special features:

Audio commentary by director Mary Lambert

Interview with Mary Lambert

Fear and Remembrance

Stephen King Territory

The Characters

Filming the Horror

3 image galleries: storyboards (with introduction by Mary Lambert), behind the scenes, marketing

Dr. Louis Creed, having just moved to Maine with his wife and two children, is heartbroken when he finds that his daughter’s beloved cat has been hit by a truck and killed. Thankfully, a strange, elderly neighbor called Jud knows a secret that may spare the young girl’s tears. He takes the dead cat to an ancient Indian burial ground that lies hidden in the surrounding hilltops; and when he buries the feline there, it comes back to life a few days later. But Louis can’t be trusted with the secret, and, despite strong warnings that something horrible will happen, he uses the power of the burial ground to bring his son back from the dead.

Crawl special features:

Beneath Crawl featurette

Category 5 Gators: The VFX of Crawl featurette

Alligator Attacks

Alternate opening

Introduction to alternate opening

Deleted and extended scenes

As a category 5 hurricane tears through Florida, Haley rushes to find her father, who is injured and trapped in the crawl space of their home. The storm intensifies and water levels rise, just as the pair face an even more terrifying threat—alligators lurking below the surface, ready to chop.

Smile special features:

Audio commentary by writer-director Parker Finn

Laura Hasn’t Slept - Original short film with introduction by director Parker Finn

Something’s Wrong with Rose: Making Smile

Flies on the Wall: Inside the Score featurette

Deleted scenes with optional commentary by director Parker Finn

After witnessing a bizarre, traumatic incident involving a patient, Dr. Rose Cotter starts experiencing frightening occurrences that she can’t explain. As an overwhelming terror begins taking over her life, Rose must confront her troubling past in order to survive and escape her horrifying new reality.

Pre-order Paramount Scares: Volume One.

#rosemary's baby #pet sematary #crawl #smile #stephen king #horror #dvd #gift #paramount scares #parker finn #mary lambert #alexandre aja #mia farrow #sosie bacon #kaya scodelario

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anhed-nia · 6 months

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BLOGTOBER 10/22-23/2023: SMILE (2022) and BARBARIAN (2022) - In Defense of the Tall Gangly Old Lady Monster

I've heard a lot of complaints lately (haven't we all) about the recent emergence of a new horror archetype--the tall, gangly, old lady monster--and I always get the feeling that the plaintiffs are willfully ignoring the context of this apparition. I mean sure, if you feel annoyed with the rapid proliferation of a prematurely tired cliche, that's fair; personally I'm pretty sick of scary clowns, even though some of them are still effective, if your main proposal is a scary clown then you're going to have to work harder than usual to get my attention. But vis a vis the tall scary old lady discourse, as far as I've seen, the objection is almost always the same: This monster is an expression of disdain for elderly people, and a reinforcement of the idea that women are worthy so long as they are considered sexually viable, after which point they deserve only disgust and rejection. And like there will surely be boring, misogynistic representations of this monster that are fair to roll one's eyes at, but the most visible targets of this criticism have been SMILE and BARBARIAN, and I would argue that both films are full of ambivalence and irony, and the specific morphology of the monster is thoughtful and deliberate.

I think that any time you hear a complaint that is based on the assumption that a movie is promoting real-life ideals and ethics, you need to double check that. This is the propaganda model of media analysis, and while nothing is created in a vacuum, not everything has didactic, propagandistic motivations. Certainly some movies ARE doing just that; I see quite a lot of chauvinism and bigotry in action movies, comedies, and (perhaps most of all) romantic comedies, whose content is clearly presented as aspirational. Low-hanging fruit of this kind is found in movies like SWEET HOME ALABAMA, which says that self-made independent career women are just fooling themselves and should stay home and serve whoever gets them pregnant first, or the similarly retrogressive JUNO in which a girl who gets knocked up during high school is universally worshiped and supported by everybody and truly loved by the knocker-upper and there is almost nothing really perilous or concerning about the whole situation, it's all very cute and desirable. Horror movies require a little more investigation. Sometimes the monster does embody some kind of moral mandate, or an unjust injunction against a certain demographic. Hitchcock and De Palma have been accused of transphobia, for instance, and while I don't think we should throw out their movies (which you should never have to do unless you're incapable of critical thought), the charges are fair. But other times, the monster embodies unfinished business, ambivalence, irony, insecurity. It exists not as a symbol of universal evil, but as a foil to the hero. And sometimes the hero is not a hero at all.

All of the following is extensively spoilery, so proceed with whatever caution is appropriate: Zach Cregger's BARBARIAN is a delightfully twisty, prismatic reflection on misogynistic violence and its consequences. It begins with a simple-seeming situation that prods the viewer to guess what protagonist Georgina Campbell should do about the problem of an unplanned male roommate in her Airbnb. Bill Skarsgård is sketchy and intrusive, but charming enough to create a dilemma for the savvy young woman--a dilemma which ends abruptly with the discovery of a monster in the basement. The building itself has its own polar identity: It offers appealing lodging for hip Detroit tourists in a once-desirable neighborhood devastated by racist, capitalist forces. The home's previous owner was a serial killer (the great Richard Brake!) with a penchant for forcibly breeding his female victims, and it is now the possession of Justin Long, a hot shot actor who is so poisoned by his own witless misogyny that he seems genuinely unaware of what constitutes rape. Lurking in the labyrinthine foundations of his investment property is one of Brake's victims: A tall, powerful, barely-human female who has been warped into believing that her captives are actually her babies. While BARBARIAN is willfully disorienting, and that is part of its charm, a bird's eye view shows its careful orchestration of clear spectrum of forms of abuse--from the institutional, to the constitutional, to the unconscious--alongside a polar pair of potential survivors, one final girl and one twisted victim.

Much has been made of the scene in which Justin Long is forced to suckle on the pendulous teat of the maternal morlock. The common assumption seems to be that we're supposed to share Long's disgust and pity his violation. I would question any impulse to side with Long as an innocent victim; certainly you're supposed to fear the monster, but that doesn't mean you can't share in the cathartic delight of a selfish, greedy, destructive, gentrifying rapist getting his comeuppance in the form of unwanted carnal contact with a female who shatters all of his fascist beauty standards. Yes, she is meant to be terrifying, but the all-important question is WHY, on what principle? On any close inspection, the motivation of BARBARIAN does not seem to involve reinforcing ageist, ableist, misogynistic values. And one might add that, in general, it doesn't get us very far culturally or artistically to insist that all oppressed-minority characters are always presented unambiguously as heroes or tragic victims. Sometimes we don't mind grossing you out, as long as we get our revenge.

Much like the dark mother in BARBARIAN, the monstrosity in Parker Finn's SMILE embodies the protagonist's neurotic phobias, rather than making a statement about objective good and evil. Sosie Bacon plays a therapist in an emergency psychiatric unit who makes the unfortunate acquaintance of a transient entity that perpetuates its existence by possessing the witnesses of violent suicides. As the traumatized target begins to perceive the leering entity everywhere, she descends into a self-destructive spiral that will end with her own inevitable death. Bacon makes an especially good victim because, aside from the immediate impact of the horrifying suicide she witnesses in her ward, she is haunted by the childhood memory of having passively allowed her mentally ill, substance-dependent mother to die. As an adult, Bacon has eschewed the challenge of deeper connections in favor of shallow, conditional relationships with people who will not forgive her flaws when they are exposed. The demon exploits her refusal to face herself by incarnating as a version of her mother that is at first pitiful and accusative, then powerful and terrifying. Once again, the dark mother is not here to encourage the audience's prejudices against women who are dysfunctional or physically past their supposed prime; in SMILE she is an avenging spirit who forces the protagonist, and the audience, into a direct confrontation with all that we ignore and avoid.

There is a lot more I would like to say about SMILE, and I kind of feel like I'm stealing from future me by including it in this abbreviated review! But as I have previously stated, I didn't know this was going to be a speed run of Blogtober until I was completely overwhelmed by life and it was too late to curate accordingly. To be honest, I liked BARBARIAN a lot and I think it's sort of deep in spite of itself, but SMILE scared the absolute shit out of me both times that I saw it. I probably found it even more effective the second time. It is unpredictable and beautifully articulated, with a strong visual personality that perfectly serves its psychological purposes. And like, if you happen to be a high-anxiety person with social problems who withers under too much attention or eye contact, and you have a basic daily fear that you don't really know who people are behind their er um uh smiles, THIS IS THE HORROR MOVIE FOR YOU. I got scared again just picking out images for my blog post! So, I reserve the right to revisit both of these movies on future Blogtobers. There is certainly a lot to say just about the emerging horror archetype of the giantess/ogress--other examples that immediately spring to mind include the vampire from Resident Evil: Village and the final (TERRIFYING!) monster in the original [REC], and I'm sure there are more, and I'm also pretty sure some real-deal academic will scoop me on this! Actually, I hope they do. Please holler at me when you inevitably see the relevant think piece.