Picture this: a terrifying nightmare that claws its way back from the grave, refusing to let a family escape its grip. That's the spine-tingling heart of The Black Phone 2, a sequel that's sparking debates among horror fans everywhere. Is it a fresh scare or just a recycled fright? Stick around, because we're diving deep into what makes this film both a thrilling return and a potential point of contention.
PLOT: Kicking off in 1982, just four years after Finn broke free from his kidnapper and took down the notorious Grabber, the darkness resurfaces with a vengeance. Evil, as it turns out, doesn't stay buried forever, and the infamous black phone starts ringing again. Ethan Hawke steps back into his bone-chilling role as the Grabber, now a vengeful spirit from the afterlife, targeting Finn's younger sister, Gwen, played by Madeleine McGraw. While the older Finn, portrayed by Mason Thames, wrestles with piecing his shattered life back together, 15-year-old Gwen is plagued by eerie phone calls in her dreams and vivid hallucinations of three boys being stalked at a secluded winter retreat known as Alpine Lake. Driven to break the curse linking them to this horror, she persuades Finn to journey to the site of her visions amid a ferocious blizzard, where they unearth a shocking tie between the Grabber and their family's buried history. This setup builds on the original's tension, adding layers of supernatural dread that keep you on the edge of your seat, much like how classic ghost stories evolve to reveal hidden family secrets.
REVIEW: I attended the West Coast premiere at LA's Beyond Fest in the American Cinematheque, and the excitement was palpable—the crowd's energy was electric, with some enthusiasts even dressing up as the Grabber to capture the essence of the film. It's evident that this franchise has swiftly become a cherished part of today's horror scene. Upfront, I'll confess: I'm a bit of a horror omnivore, equally drawn to cinematic gems and guilty pleasures. What I adored about this movie might rub some viewers the wrong way, but that's the wild charm of horror—it's all about personal taste and delightful disorder. The Black Phone 2 balances honoring tradition with injecting fresh twists, spotlighting some of the genre's most enduring clichés in a way that's both nostalgic and innovative.
One major gripe circulating online is that the sequel attempts to turn a standalone masterpiece into a full-blown series. And you know what? That's spot on, but it also echoes one of horror's oldest customs. If a killer draws crowds, they simply won't stay gone. Writer C. Robert Cargill hesitated at first, scarred by his stint on Sinister 2, yet when Joe Hill—whose short story inspired the first film—proposed the idea of Finn receiving a direct call from the Grabber, straight from the depths of hell, Cargill couldn't turn it down. I'm all in on that concept. In our current horror boom, we're short on brand-new monsters to fear. Back in the '70s and '80s, we were inundated with icons like Michael Myers, Freddy Krueger, Jason Voorhees, and Leatherface, but today's generation craves its own legendary villains. Sure, characters like Art the Clown are rising, but most recent slashers (think masked killers stalking victims in brutal, repetitive ways) are revivals of past hits. So, with that in mind, I'm welcoming the Grabber's comeback with enthusiasm.
But here's where it gets controversial: Is reviving dead villains a smart move, or does it dilute the impact of the original? Some argue it cheapens the story, turning a one-and-done tale into franchise fodder, while others see it as a necessary evolution to keep horror alive. What do you think—does every killer deserve a sequel, or should some rest in peace?
The Grabber's appearances are scarce, yet his shadow dominates the screen. When he does show up, it's unforgettable, largely due to his instantly recognizable mask, crafted by horror icon Tom Savini. Initially, the Grabber was slated for clown makeup, drawing from the real-life murderer John Wayne Gacy, but Joe Hill pushed for a change to sidestep comparisons to his father Stephen King's work. Instead, he suggested a design inspired by 1930s magic shows, featuring a devilish mask. Savini doodled it on a bar napkin, birthing a fresh horror icon. For beginners dipping into the genre, think of slashers as those masked antagonists who terrorize teens in isolated settings—it's a subgenre that thrives on suspense and gore, much like a modern fairy tale gone horribly wrong.
Of course, a mask is only part of the terror; it's the actor underneath who truly frightens. Ethan Hawke returns with unbridled menace, his lines oozing pure evil, channeling the aura of a spirit reduced to its darkest core. He's visibly enjoying his second go at the role, fully embracing the ghostly nature of the character this time around.
Now, addressing the big issue in the room—the Freddy Krueger parallels. I'm far from the only one spotting similarities in how they've resurrected the Grabber. And to that, I say: absolutely, but does it sink the ship? Not at all. Horror often borrows from itself, like a form of creative 'cannibalism' where stories feed on past successes. For instance, Friday the 13th was openly inspired by Halloween, copying elements like jump scares and masked killers to cash in on the trend. So yes, the genre sometimes chases its own tail, but the key is what it does with the material. Here, The Black Phone 2 leverages the familiar villain comeback to carve its own path, potentially setting up unique directions for future installments. While it nods to Krueger's dream-haunting style, it's more of a spectral tale than a fever-dream nightmare. In fact, it draws parallels to Friday the 13th with its camp-by-the-lake vibe or The Thing in its snowy, isolated horror. You might even catch nods to lesser-known gems like Curtains and The Dead Zone woven in.
And this is the part most people miss: the returning actors shine brighter than ever, their skills honed over time. Mason Thames as Finn masterfully conveys the lingering trauma from the first film through subtle cues—anger outbursts, physical fights, and even heavy reliance on marijuana to cope. He masks his dread with bravado, echoing his deceased friend Robin's rebellious streak from the original, yet beneath it all, he's a devoted sibling, fiercely guarding Gwen as she becomes the Grabber's prey. He even delivers some hilarious moments, like awkwardly chaperoning when Robin's little brother Ernesto develops a crush on Gwen. Though Finn is the emotional anchor, the film truly belongs to Gwen. Madeleine McGraw portrays a more grown-up version of the character, navigating the challenges of her emerging psychic powers. She authentically captures layers of pain, terror, and melancholy as she uncovers links between the Grabber and their late mother, all while tossing in profanity-laced one-liners that could rival a seasoned sailor. Her mix of fragility and sharp humor steals the show.
The supporting roles hit the mark too. Miguel Mora reprises Ernesto, Robin's younger sibling, injecting humor and heart. Jeremy Davies returns as the siblings' dad, now sober, apologetic, and nurturing, providing a poignant path to redemption.
Director Scott Derrickson comes back with poise and flair, broadening the universe while staying true to the original's atmosphere. He explores new territories, merging supernatural chills with mental anguish and introducing breathtaking visuals. He tinkers with the mythology, reworking key elements in daring, intriguing ways. His visual prowess shines, especially in the transition from the grimy basement of the first film to expansive winter landscapes, unlocking a whole new color scheme. Those scenes of a solitary phone booth nestled in Colorado's towering peaks are simply mesmerizing. Plus, who doesn't love winter horror? The blend of crimson blood against pristine snow is endlessly captivating. Quiet scenes glow with the warmth of antique heating elements, adding a tender hum to intimate moments. The film grain effect is ramped up to signal shifts between the real world and nightmarish visions, a clever stylistic choice that feels like a twisted take on nostalgic holiday films, swapping festive joy for gruesome camp carnage. And yes, Derrickson cranks up the violence, offering unflinching peeks into child murders that the original shied away from, handled with a bold confidence that confronts the story's darkest sides.
The first Black Phone evoked the dread of a missing child's photo on a milk carton, tapping into the '70s-era fear of vanishing without a trace. The Black Phone 2 feels like an after-school special, exploring themes of morality and confronting inner demons. It can get a tad cheesy or even preachy at times, as characters grapple with trauma through faith, fitting since the story unfolds at a faith-based youth camp. Sure, it drags in spots, but patience pays off. All in all, it's a solid comeback for the whole team, proving itself as a deserving follow-up to the breakout sensation that was The Black Phone. It's eerie, moving, and unexpectedly touching, preserving the core while expanding the lore.
If the Grabber dials up for a third round... I'll be picking up the line.
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What about you? Do you agree that horror thrives on reviving old villains, or do you prefer stories that stay standalone? Is the Grabber's ghostly return a brilliant twist or a missed opportunity? Drop your opinions in the comments—let's debate!
