'smile' could be easily, comfortably and simply described as a cross between 'The Ring' and 'It Follows' with a little of 'Fallen' by Denzel Washington. In fact, it could perfectly pass for being a new version of the aforementioned Hideo Nakata film; with a smile instead of a VHS tape, obviously.
'Smile 2' It is, no less obvious, that more of the same. The concept is the concept, and this cleverly disturbing sequel exploits what defines and particularizes this nascent franchise, calling into question the saying that sequels were never good. 'Smile 2' It is, even better than the first. Whether it is or not, it doesn't matter. But it is. More of the same, but at the same time different, in a sequel that is not at all gratuitous or opportunistic that exploits the strengths of its predecessor, being a more refined and solid version of it, capable of compensating for the relative loss of surprise with its good lyrics, its good “scares” and the complicity of certainty. Parker Finn, once again, shows affection for his child. And for its protagonist, a long-suffering and bitchy Naomi Scott, for whom he builds a story with substance and background that serves to substantiate and enrich a proposal that goes beyond some “scares” that in Finn's hands appear elegant and well worked. And generally, effective and convincing. And we are talking about an effective and convincing horror film, even with more ease and elegance than its first installment. The fame of its protagonist adds several layers of interest and drama to a leitmotif that works, again, like a shot, also reinforced by the evident confidence of a Finn reaffirmed by the success of the previous one. And now for this your revalidation.
'Smile 2' is, just like 'smile', an honest and playful horror film that takes its time to give each “scare” its due grace, and that rises above the fast-moving consumer product that is also proud, self-respecting and of course a very good and big knowing smile. This indispensable and now iconic differential element is the signature of its restless enjoyment, and proof of the simple but unquestionable generic and also dramatic effectiveness that establishes that strange sympathy with the viewer, which drives us to leave the room with a knowing smile and of satisfaction… …waiting, oh yes, for the third.