Dead is just a word.
Dead is just a word.
Scott Derrickson returns to direct Black Phone 2, once again showcasing his impressive visual style with beautifully shot winter landscapes and striking dream sequences. The film expands on the lore of the Grabber, delving deeper into supernatural elements that, while intriguing, sometimes seem nonsensical and overly ambitious. Despite being a well-made film with decent tension and a deepening mythology, the sequel struggles to recapture the essence of the original. With too many competing elements, the plot becomes convoluted and lacklustre, holding back until the hour mark, and ultimately falling short with cringeworthy dialogue, dull side characters, and a lack of real scares.
Taking place four years after the events of the first film, Finney (Mason Thames) and Gwen (Madeleine McGraw) still grapple with their trauma from the Grabber (Ethan Hawke) and the aftermath of their ordeal. When Gwen starts receiving ominous messages from the black phone in her dreams, the Blake siblings realize the killer’s evil legacy lives on even in death. Gwen’s premonitions lead Finney and her to Alpine Lake Camp, where she uncovers a shocking connection between the Grabber and their family’s dark past. Alongside their friend Ernesto (Miguel Mora, who also portrayed Ernesto’s brother Robin in the original), they must face off against the masked murderer and confront the horrors that haunt them.
The Black Phone (2021) was a dark, emotional ride that built tension through uncertainty, with the Grabber’s mysterious nature making him a deeply unsettling villain. Black Phone 2 takes a different approach, but in giving the killer a detailed backstory, it strips away the very thing that made him so terrifying. Instead of trusting audiences to piece together a new mystery, the sequel hits them with blunt exposition, including the revelation that the Grabber murdered Finn’s and Gwen’s mom, Hope Blake. This added context is not only unnecessary but also undermines the randomness of Finn’s kidnapping, which made it so eerie.
The most compelling portions of Black Phone 2 are scenes of Finney and the Grabber. Mason Thames has a bright future in acting, and it’s a treat seeing him step back into this role. Given the traumatic events of his first encounter, there’s a great opportunity to feature Finn as the lead, exploring his PTSD further, and this direction is initially suggested before shifting focus to Gwen. Still, Mason Thames shines as a resourceful and determined final boy, and scenes like his hallucination of the Grabber in the backyard are among the best in the film. Madeleine McGraw’s Gwen is a complex and dynamic character again, but her tonal shifts from whining and crying to over-the-top insults and outbursts become jarring and forced.
Ethan Hawke’s return as the Grabber is a welcome sight, despite his surprisingly limited screen time. The Grabber’s design is undeniably creepy, particularly in his bloody, dishevelled state, and his ice skating scenes are a fun homage to Curtains (1983). The film’s dream logic and the Grabber’s ability to interact as an invisible force in the real world don’t entirely make sense, but there are moments, like the suspenseful kitchen scene with Gwen, that work well. Since Ethan Hawke is heavily advertised as the main draw, his lack of presence is notable, and when he does appear, he’s less threatening and more focused on sinister monologues than actual killing. This sequel had a good opportunity to explore new human killers, while still focusing on the Grabber as a menacing supernatural presence, but opted for a more straightforward approach in giving him the Freddy Krueger treatment.
One of the biggest strikes against Black Phone 2 is its sluggish pacing, with scenes dragging on without advancing the plot or deepening character development. Questionable editing choices are also at play, leaving loose ends like Ernesto and Gwen’s Duran Duran concert plans and whether the tarot cards he gave her hold any meaning. The most noticeable example is Finn’s seemingly calm demeanour when rescuing Gwen from the Grabber’s basement, despite the horror he experienced there. A heavy-handed use of cheesy religious elements only adds to the questionable decision-making.
While the writing falls short in some areas, Black Phone 2 excels in its technical aspects, with stunning cinematography and impressive effects. Cinematographer Pär M. Ekberg masterfully crafts the film’s visual language, particularly in the seamless transitions between dreams and reality. The grainy camera work in these dream sequences adds to the foreboding ambiance, and the visuals are truly breathtaking. With gorgeous imagery and an effective score that heightens moments of tension, the film still manages to draw you in.
Black Phone 2 delivers great atmosphere, but falters due to its lack of twists and mystery. Despite its competent visuals, solid acting, and decent ideas, it doesn’t match the tight script, stakes, and suspense that made its predecessor so powerful. Ultimately, an over-reliance on connections to the original raises more questions than it answers, making one wonder if a potential Black Phone 3 is necessary.
