I attended the CinemaCon screening of Black Phone back in 2022. I knew absolutely nothing about the film at the time and remember being pleasantly surprised when I exited the Colosseum Theater at Caesars Palace later that evening. There were a lot of great things about the first film, from the creepy design of the Grabber’s mask to Scott Derrickson’s direction, but the biggest takeaway for me was how it launched the careers of Mason Thames and Madeleine McGraw. I knew immediately after seeing the film that these two were just getting started in Hollywood.
The Black Phone 2 takes place four years after the events of the first film. Finn Blake (Thames) is trying to cope with the trauma caused by the Grabber, while his sister Gwen begins to experience terrifying visions of children who were his victims.
One of my favorite aspects of The Black Phone 2 is how it explores the underlying trauma that Finn and Gwen have carried since the Grabber’s death. Both are trying to move forward with their lives, but as anyone who has faced deep trauma knows, healing is often easier said than done. I applaud Scott Derrickson and C. Robert Cargill for centering the sequel around that concept. Far too many horror sequels ignore how difficult it is for survivors, especially children, to process the past and how their coping mechanisms shape the rest of their lives.
Shifting the focus from Finn to Gwen was a brilliant decision. Gwen was the scene-stealer in the first film, but now she takes center stage. As the viewer, we experience firsthand how those horrific events continue to haunt her. While I was mixed on the supernatural elements in the first film, this one leans into them in a way that completely drew me in. I especially loved the whole backstory of the Grabber and the setting at Alpine Lake.
Derrickson, a lifelong horror fan, pays homage to A Nightmare on Elm Street while still maintaining his own unique style and tone. I love the way the film looks. In fact, I think Black Phone 2 is one of the best-directed films I have seen all year, including most of the awards contenders. Derrickson has always been a phenomenal filmmaker, and this sequel looks and feels like it was shot in the early 1980s. He skillfully alternates between footage that appears to be shot on film and Super 8 during Gwen’s dream sequences, creating an eerie and nostalgic nightmarish aesthetic.
Mason Thames continues to impress with a more nuanced and mature performance. He clearly has a deep connection to the character of Finn, capturing the isolation and loneliness that come from surviving a horrific event. Finn is angry, conflicted, and haunted, yet deeply protective of Gwen, even when he feels powerless to help her.
Almost everyone I’ve spoken with who has seen Black Phone agrees that Madeleine McGraw stole the show. In Black Phone 2, she raises the bar even higher with a performance far beyond her years. McGraw’s work here is so powerful that if the industry weren’t so biased against horror, I genuinely believe she’d be in awards contention. Gwen goes through hell in this film, and McGraw brings raw honesty and emotion to every moment.
Black Phone 2 is terrifying from start to finish. It’s a gripping and intense sequel that not only explores the lingering trauma of the first film but also delves deeper into the supernatural lore of the Grabber. I’ve seen a lot of horror movies this year, but this one truly delivers. Black Phone 2 is the best horror film of the year.
Grade: 8/10
Awards Buzz: While I do think the bias against horror will finally be overlooked this year by Academy members thanks to Sinners and potentially Weapons, I don’t think Black Phone 2 will benefit, unfortunately. That said, we’re fortunate to have award shows that do honor and celebrate horror films and performances. I believe this film will earn nominations at those events, even though it will face stiff competition from Sinners and Weapons.
