Heh.
Although this may actually be a symptom of another issue: the overuse of eyebrow movement.
Because it's easy to write without interfering with the flow of a sentence, and eyes in general are something we tend to notice when we're looking at people (and brows tend to be the part of the eye that one notices first, even from a distance). Pupils often dilate or constrict in response to emotion too, but unless someone has light eyes, or you're very close to them, it's harder to notice from across a room.
Mouths are another thing we can spot from a distance, hence all the pursed lips, tight lips, frowns, glowers, grins, flashing teeth, smirks and smiles.
Our cheeks tend to round when we smile in a genuine way, but it might look a bit odd to describe a smile as "her cheeks rounded." Usually we're focused on the eyes and mouth. Likewise, brows rise in surprise, and their mouth may fall open, but we don't tend to notice what a person's nose is doing at this time (though nostrils do sometimes flare with anger)
This article is kind of silly, because the models are showing such exaggerated versions of the emotions, but you can see the issue with trying to micro dissect the different expressions and trying to describe them in a way that is completely unambiguous, isn't cliched sounding and focused on the usual facial features, nor overly analytical and detached sounding.
Sometimes it just works better to use something like:
She drooped like a prisoner on her way to the gallows, or,
He looked gleeful as an investment banker right after the Glass-Steagall act was repealed.
But those kinds of descriptions can become annoying or hokey too, especially if the comparison doesn't quite work for the setting or character (or if it's too obscure for many readers to get).