Film Review: ‘Black Phone 2’ is a Supernatural Sequel That Takes the Horror Franchise in a New Direction

Three years ago, The Black Phone (reviewed here) made a real impression by being the rare horror film to feel both grounded and fantastical. The abduction/serial killer elements were gritty and realistic, while the voices from beyond the grave were a special sauce to give the flick a unique personality. At the same time, a sequel didn’t even seem possible, besides feeling unnecessary. Well, along comes Black Phone 2, and it turns out that all involved were aware of that feeling. Instead of rehashing what’s come before, the now series opts to change things up in a major way, giving it a freshness that fuels things from start to finish.

Black Phone 2 moves the franchise towards a more supernatural territory, clearly taking a page from A Nightmare on Elm Street and some of its own sequels. It has a slower pace and a more serious feeling, especially in the first act, and really the first half, but once we get to The Grabber being a new Freddy Krueger, we’re really cooking with gas. The horror wheel isn’t being re-invented, to be sure, but it is showing how a property can extend its life by being creative and not playing it safe.

Four years have passed since the events of the last film, where then thirteen year old Finn (Mason Thames) was abducted by the serial killer known as The Grabber (Ethan Hawke). Finn ultimately killed his captor and escaped, though now as a seventeen year old, he’s still dealing with the trauma. His younger sister Gwen (Madeleine McGraw) is now fifteen and beginning to receive calls from the black phone in her dreams. While Finn numbs himself with weed nightly, Gwen is seeing disturbing visions of three boys being stalked and murdered at Alpine Lake, a nearby winter camp. Needing to solve the mystery for her own sanity, as well as perhaps for her brother as well, she convinces them to sign up as counselors in training, in order to visit the camp.

Arriving at Alpine Lake with Ernesto (Miguel Mora), they’re welcomed by Armando (Demián Bichir), though not everyone there is so kind. Plus, it’s at the camp that Gwen begins to be tormented in her dreams by The Grabber, who is dead but very much still a threat. As she learns about how the killer and her family have history, he begins attacking her when she falls asleep. Along with Finn, she’ll need to confront The Grabber, even as he’s gotten more powerful in death, especially once they realize what he’s done to them.

Ethan Hawke returns as The Grabber, alongside prior heroes Madeline McGraw and Mason Thames (as well as Jeremy Davies, playing Finn and Gwen’s father). This time, McGraw is more of the lead and really does anchor the film. She’s strong and determined, though also gets put through the ringer like a true scream queen. Mason Thames showcases the trauma that The Black Phone subjected him to in a way that few horror sequels opt to do, with compelling results. As for Hawke, he’s not in it quite as much as last time, though he’s just as disturbing, albeit in a new way. He’s again having a blast being a villain, this time embracing the demonic side of being dead but still very much an omnipresent threat. If he’s going to keep playing The Grabber every so often, sign me up. Demián Bichir is a bit wasted, though always a welcome presence. In addition to Davies and the aforementioned Mora, supporting players here include Anna Lore, Arianna Rivas, and more.

Co-writer/director Scott Derrickson, along with his writing partner C. Robert Cargill, is clearly influenced by the A Nightmare on Elm Street franchise, taking his series in this supernatural direction. Things start off pretty slowly, but once the rhythm sets in, it picks up in a big way, especially when The Grabber turns Freddy-esque. Derrickson and Cargill are interested in some heavy themes and don’t shy away from darkness, though occasionally their script is on the nose and has characters saying things you only hear in the midst of a horror movie. At the same time, Derrickson’s direction is a highlight, especially with how the dream sequences are shot on Super 8, giving them a unique quality. It’s jarring at first, but by the end, it becomes a defining feature of Black Phone 2. That sort of creativity rarely arises in horror sequels.

Black Phone 2 is hardly groundbreaking, but by mixing things up, the series manages to stay fresh. I’d happily see a third one if Derrickson, Hawke, and company want to keep giving us more of The Grabber. He’s not quite as iconic as Freddy, admittedly, but he’s in that ballpark, which is something worth exploring more. Regardless, this sequel sets itself apart by being bold enough to do things differently than most.

SCORE: ★★★