Scott Derrickson’s 2021 horror gem, “The Black Phone,” left a mark with its sinister tone and breathtaking suspense. But his ace in the hole was Ethan Hawke, who took on a role like no other during his illustrious forty-year career. Hawke played The Grabber, a serial killer and child kidnapper who terrorized the residents of a Denver suburb. Hawke lost himself in the character and delivered a horror movie antagonist that was both frightening and fascinating.
Derrickson returns to direct and joins C. Robert Cargill to write the screenplay for “Black Phone 2,” a sequel set four years after the events of the first film. Even more exciting, Ethan Hawke returns as The Grabber who (and this might be a spoiler for those new to the series) was killed off at the end of the first film. But Derrickson and Cargill have created a surprisingly compelling angle to bring back their villain, and they manage to extend the original story in a unique and effective way.
“The Black Phone” is based on a 2005 short story by Joe Hill. It laid the groundwork for “Black Phone 2’s” unexpected narrative twists and turns. Set in 1982, the sequel continues the stories of brother and sister Finney and Gwen Blake (played by Mason Thames and Madeleine McGraw). Now 17, Finney has tried to bury his trauma since he made headlines as the sole survivor of the Grabber murder series.
But the film is mainly interested in Finney’s little sister, Gwen, whose mysterious power (or curse) played a big role in the first film. Gwen’s clairvoyance manifests itself in dreams that she does not fully understand. Lately, they have been having horrible nightmares in which she witnesses the brutal murders of three young boys. There are also the piercing rings of a black rotary telephone – a potential connection to The Grabber. Each new nightmare becomes more vivid and more disturbing. And everyone points to the Alpine Lake youth camp in the Rocky Mountains.
Desperate for answers, Finney, Gwen and her wannabe boyfriend Ernie (Miguel Mora) head to Alpine Lake to investigate. Posing as counselors-in-training, the trio arrive in the middle of a blizzard and are greeted by a small staff including the owner, Armando Reyes (Demián Bichir). There, Gwen’s terrifying dreams intensify. They begin with horrible encounters with the three mutilated little boys. But soon it’s The Grabber himself, now a raging vengeful spirit with an ax to deal with Finney and Gwen.
Derrickson really leans into the added supernatural twist, taking an already dark and disturbing story and making it even more disturbing. Along the way, we’re treated to several intriguing connections and unexpected revelations, some of which change our perspective on the first film in surprisingly clever ways. They tell us more about The Grabber’s violent history as well as Finney and Gwen’s family struggles.
The performances of the young stars are generally good even if the script sometimes trips them up. This is especially true with McGraw who is regularly forced to blurt out ’80s-inspired insults that seem more far-fetched than genuine. Otherwise, she and Thames meet the many demands of their roles. We also get good supporting roles from Bichir and Jeremy Davies as Finney and Gwen’s father, Terrence.
As for Hawke, aside from a few glimpses in a handful of early flashbacks, it’s nearly an hour before we see him in the role of The Grabber. And once he appears, he’s just as scary as before, lurking in the shadows of Gwen’s dreams while darkly delivering his lines with ethereal menace. He’s a haunting presence with Freddy Krueger-inspired powers, but whose vengeful rage and sadism are far more serious and focused.
The film makes a number of impressive choices, but some of the most effective involve its bold visuals. Derrickson films Gwen’s dream sequences in Super 8mm and 16mm, giving them a grainy, old home video quality. Along with the crackling static in the audio, it creates an eerie and creepy atmosphere. It’s a very specific and powerful visual choice that’s more than just a gimmick. And it stands out even more when Derrickson starts integrating it with “real world” digital photography.
“Black Phone 2” is a great sequel that many of us didn’t know we needed. From its well-developed character arcs to its sinister set pieces, the film uses every facet of cinema to make us squirm in our seats, but also empathize with its characters as they navigate such common yet heavy themes as dealing with trauma, confronting fears, family bonds, and the test of faith. Certainly, the rules of “dream versus reality” are not always clear, especially in the final act. But it’s easy to look past these minor gripes after considering the vivid vision and top-notch execution of this interesting sequel that’s full of proud callbacks and quirky twists of its own.
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